Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1890-06-01
HUsIc AND THE DRAMA.
AN ENGLISH OPINION Ur0N SAINT
sAENs OPERA .sAsCANI0.n

| sAENs OPERA ''AscANIon
Notoriety Artists" Under Fire in Aus
tralia-Nellie McBenry's Success
| Rare Presence of Mind.
aAscanio" may be called French an
swer to the challenge which has gone forth
to the world of lyric drama from the shrine
at Bayreuth. We have seen the answer
which Italy has given in Verdi's "Otello'
-an answer admitting the urgency and in
iuence of the call, but yielding very
qualified submission. Along with an ele-
walton both Of aim and method, which
may be fairly attributed to Wagner's ex-
ample and influence, Verdi yet complete
ly retains his own individuality, and
Saint-Saens has done hesame, though COM
ing nearer to the Wagnerian model. The
new French style stands between the new
German and the new italian, resembling
both in certain features, yet maintaining a
character of its own.
In "Ascanio" the composer has taken
the characters. analyzed them and their
relations to each other, and given distinct
musical expression to each. The music
tells the story symboiically, and develops
the action step by step with the words.
Thus, for instance, Benvenuto himself, the
hustle of his workshop, his genial, impetu-
GUS character, his affection for Ascanio,
his artistic asPiration-each has its own
appropriate motif, which reappears woven
into the texture of the score, according as
the action of the piece and the play of pas
sion demand it. So, also, the other char
acters, and the respective parts played by
them in evolving the drama. Thus far
with Wagner, but the themes themselves
are of an entirely French clearness and
neatness, and their development quite un-
Wagnerian in simplicity and straightfor-
wardness. 1t must not be supposed, how
ever, that the score lacks fullness of color.
That is not so. On the contrary, without
presenting very novel or striking effects, it
shows great skill and much distinction of
manner.
Then, on the other hand, the French
composer, though never interrupting the
action by the insertion of conventional
morceau, rather follows Verdi in not
rigidly avoiding the judicious use of con-
certed pieces, thereby gaining a musical
advantage without sustaining dramatic
loss. The chorus is employed in similar
manner-that is to say, it is brought in
naturally There are but three "solos" in
the opera, and each is quite in place and
in character. Scozzone sings song to the
men in the Workshop the King breathes a
chivalrous madrigal over the hand of
Nine. d Etampes, and Colombo MARBLES an
unaccompanied melody In the garden,
while Cellini models his Hebe. Each of
these compositions falls naturally and
promptly into place, and each is carefully
and cleverly archaic in form. The class
ical ballet, too, is admirably in keeping
with the period. In short, the more the
opera is studied the more clearly one sees
the conscious aim of the composer to pre-
sent al Inconsistent musical drama and his ca
pacity to carry out that aim in thor
oughly Independent manner. NJ. Gillet,
the Hbrettist, has seconded him WELL
| The merit of the work is sufficiently tes-
titled by the applause with which it was
received; for the Parisians who have not
yet had an opportunity of seeing "Otello,n
or any of Wagner's operas on the stage, are
not accustomed to the new school. Yet at
the premiere no less than seven passages
were re-demanded, to the great astonish-
ment of the critics, who for the most part
do not seem to understand at all this genre
of opera. a very considerable share in
procuring this success must be allowed to
the performers. Cellini's part has been
written to suit Lassalle's voice to marvel,
and he is perfectly colossal in it.
| ''NoToRIETY ARTISTS"
The engagement of Mrs. James Brown
Potter and Kyrle Bellew has not opened
auspiciously in Australia. The critics
have shown them bat little mercy, and
Mrs. Potter, who objects to the adverse but
courteously-expressed criticisms made on
her performance there, must writhe under
the lash. The Melbourne Bulletin, for ex-
ample, speaking of their first appearance
in that city, says:
"The first appearance of Mrs. Potter ard
| Kyrle Belew, two distinguished notoriety
artists, occurred at Melbourne Princess on
Saturday. The presence of the local en-
blem of monarchy, added to the fact that
Mrs. Potter's costumes ARE by Worth of
| Paris gave certain air of refined inter-
est to this sad event, as far as the dress
circle and stalls were concerned. Above,
in the amphitheater, where Worth (of
| Paris is not name to conjure with, pub
lie interest in Mrs. Potter took the form of
exhortations to speak up, and vented itself
! in irreverence calculated to disgust Worth
of Paris, had that excellent milliner been
there. Even X. Bellew provoked an occa-
sional scoff, although lie also is splen-
didly upholstered person, who realizes our
dreams of an adult Little Lord Fauntle-
roy. When Mrs Potter sank, like snow
| flake upon Bellows knee, or fell violently
| ter damped her ardor, and doubtless dis
suaded her from putting on the Grecian
hug, which Is reported to be her histrionic
card. Bellew, indeed, is fragile variety
of blossom, SO perhaps the boys were con-
vulsed at the thought of Mrs. Potter
breaking him. But even in its arrested
development evidences of the possible
subblimity of Mrs. Potter's stage cuddle
were not wanting. She is earnestly recon-
mended to let it go, and never mind the
boys. Mrs. Potter is likewise great on the
faint, although Bellew, for the matter of
that, can go down sideways with sicken-
ening thud"
| Another critic, probably inspired like
wise by the first performance, drops into
poetry, as follows:
| A STACEY sticking-out of arms,
! frequent faint, feeble totter,
A voice which rather bores than charms,
| handsome gown-thats Mrs. Potter
| Though seeming less the more she's seen,
l This compliment It's fair TO pay her
When Mrs Potter plays Pauline
| She is indeed poor. lean player.
A pair of legs in Vandyke pose.
| manner soft as melted butter,
| fragile form, classic nose,
| And altogether quite too utter
| That's just sketch of Kyrle Bellew,
| Prepared with not a little trouble,
Who found in him actor new
| To blow" about bel-lew bubble.
RARE PRESENCE OF MIND.
John McWade, the popular baritone of
the Said Pasha Company, who is we'll
known in Chicago, says the Herald of that
city, has but one arm, as every one knows.
He used to wear false arm, attached by
straps, and this he first wore when he
travelled through the Northwest in comic
opera under the management of Will Da-