New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-06-09
wA6CAGNpS LATEST OPERA.
FIRST AMERICAN PERFORMANCE OF
.LAMICO FRITZ
-. -, u1NRICHs's OPERA COMPANY GIVES 1T IN
nv,1AppapHIA-ITs INFERIoRITY TO "CAv.
ALLERIA RUSTIOANA7 DUE TO
AN INDRAMATIC BOOK.
my TELEGRAPH TO TINE TRIBUNAL

mY TELEGRAPH TO the TRIPuNkI
vAusdelphia, June s.-Mascsgni's opera. "LAmico
~. which, owing to the phenomenal success OF
snovs,lerts Rusticana," awaited by the musical
,rr,d with such eager expectancy ana mehs'ruhs
'.,,.ossv half year ago. Was produced in the italian
.s.tnS here tonight The company that performed
n vss he new American Opera Company Cimited)'
nv.tsv Hinric1s conductor which for several years
hos resulay been organized for the purpose OF giving
summer performances Of opera at the Grand opeaa
Ho~se Last year the organization was hf*t ih
Che field with "Cavallera Rusticana.' 1t is not
heh-csss company In all respects, but IL cohtaihS
,ne good talent and under the energetic and artsue
ansrment Of Mr.. Hinrichs It's performances are OK
osedipsy varied and fairly attractive In fack were
tbe popular attitude toward opera in tins eosn"y
rnarhed by creator wisdom and earnestness TINS ~
vet ephcmeral institution might easily be Developer
into q permanent one capable Of leading the way 10
that consummaton devontay w1shed-ersnN oPol"
In the venacular In tonieht's representation tne
snncipal parts were taken by Nine. Koert Kronold,
soprano; Cgara Poole contrslto, Guille, tenor ana
Del Puente ba1toneas such things CO. an accep'epie
quartet.
Tho question which most naturally rose in the minds
M the listeners to night that touching tho relative
merit OF the new opera compared with Its famous
Predecessor There Is scarcely doubt that the popu-
lar verdict will agree with the judgment of the
iudicisus In the opinion that the elements Of at
t,setiveness are much numerous In ~Cavallera'
than In "L'Amico Fritz" For this an
sxpanaHon must be found chfehy In
the superiority Of the tragic Nbretto and Its
sdsptabuity to Mascagni's peculiar gifts as a
melodist. In the book Of "Cavalera' despite I's
evidence Of c1udity in structure, possibly ON that
very account there the direct forcefuness which
sppesed powerfully b Msscagnis fullbocded dramatic
ryie, his intensity and psss'ooste melody. Tue
result that with only small amount on Nai
sr&nauty he produced opera which fascinated
popular Interest with the fascination bike that exeited
BY a serpent. The blood Of the simple and homey
tragedy s,rsed tumultuously Though the veins OF the
opera.
Uhs story Of Erckmann- Chat1an's /" Ami Fritz" was
Of necessity in different case; and all
te devices which the composer resoNed to In
order to make q musical play out Of 1t simply &C.
centuated the difference, and point to his limitations
Is a musical dramatst. obviously be had hand In
the construction of the book; but II was an impos-
sbiuty to transform the Ingenious pastoral tale OF
the French novelise into the pusating drama which
alone would appeal to Mascagnls talent In the manner
10 say nothing OF the degree that Vergas story OF
PASSION appealed to It, Mascagnls music Is frequently
srstocratic In the that it Is not for the many
His skll In the handling Of dialogue has splendid
exemplfcaton Ia the new opera and his ability 10
Characterize his percentages unsteady must command
the sipcere admiration Of the musical oonnoisseurs;
but his desire to be always dramasic In an opera
which is In its nature essentially and persistently
lyrical operates sadly against him. He is always
raising a club TO brain gna.
There Is no adequate motive In the play for the
stress of passion which he nvokes and in consequence
the sentiment Of the music Is frequently artificial and
forced lis brightest in the second act In
which there IS imitation OF Wagner at distance; the
lovers sing OF their old love in an allecory wherein
spring is giorifed. The influence Of Wagner the
young composer seems to moro obvious in
sL'Amico Fritz" than in "Cavalleria Rustcana."
II bears good fruit frequently but when II leads
him practically to ignore the chorus II is scarcely
10 be justified In opera Of the character OF this.
Mascagni introduces the chorus for few measures
only three four times, and in each instance the
singers are Of sight, and have nothing to do
by aegory, with the play yet there is reason
why they should not enter, for the sake of swelling
close, in the last scene
Another criticism which must be made the music,
Is comedy music Is its penury In local color. When
this element is applied, is the I'm the two songs
Of Beppe THE instrumental intermezzo between the
second and third acts 1t is Hungarian. and OF course
foreign TO everything essential in the play. Twice
Masoae1i borrows Alsatian melodies but they are
utterly nconseQuental, from musical point OF view,
md ineffective for the purpose which evidently 1t was
designed they should fulfil.
The performance was. the whole, excellent, It's
weakest feature being the rough playing OF the Or
elestra; and the audience appauded heartily II not
always with the discrimination necessary u give the
applause weight H. IL n