New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-04-19
MUSIC-THE DRAMA.
A NEW vIENNESE OPERETTA.

A NEW VIENNESE OPERETTA.
The lovers Of COED operetta who attended the first
performance OF "A Child OF Fortune" at the Casino
last night they felt any apprehension at all about
the future Of Mipoeeker's new operetta, mast have
done because OF fear that II is too good TO succeed
There Is no greater lottery in the amusement world
tan that with which the purveyors Of comic operettas
daily and has happened. over and over again, that
the only explanation which could be given touching
the failure of work has been that 1t toe good 10
succeed. OF course there is something fundamentally
wrong when such things be. but 1t IL scarcely
worth while 10 spend time trying 10 find out what IL
Is. There have, fortunately, been cases (the same
composers Beggsr Student" Is striinely In point
where high merit not hindrance TO popularity
and every believer In wellconstructed operetta book
and a cloomposed epenetta score as source OF
nnocent merriment will hope that the new work VIII
be appreciated at it's value. II this is DONE the
Casino VIII have added another winning card to the
many that it has played in its history.
1t is the musical side of the operetta which Is
engaging our attention now. There are elements in
the score Of "A child OF Fortune" which show the
composers mveptvcness ingenuity and skill In as
bright light as has ever shone ON II here. Com
pared with the best of the French operes composers
Herr Mflloeoker has sometimes appeared lacking in
freshness and originality somewhat heavy footed and
unAuly noisy In his Orchestraton. This is not the
case in the new Here we have more variety
than usual. both in rhythm and in spirit TO the
sonorous and clevery built up fnales, the stirring
marches and the Infectious waltzes which are never
lacking In through which Viennese blood
dances, he aas added generous measure OF pretty
sentiment. and in number, love duet In the nrst
act 1.-THE musical Of the piece delicious touch OF
characteristic folk song which ought 70 go far toward
making the fortune Of the operetta. Here, Indeed
Milioeclsor has swung himself up 10 the plane on which,
heretofore suppe Of all the Vennese school, has alone
been able to maintain himself Altogether the music
Of Il "A delight a
and had ~ audience of last night been accustomed 10
hook for the highest merit In an operetta where We
disposed to find II. not only the capital song
Of the three Dragons in march rhythm, and the
love duet with Its dainty echo of Scotland. but also
the finale Of the second act would have been stormy
redemanded
In addition to its good music g Child of Fortune"
has good Ibretto. Here 1t was plain enough that
much has been lost In the process OF translation The
LYRICS, which fancy alone the work Of Mrs.
Helen F. Tretbar, 60 smoothly enough but the dialogue
is deficient in crspness and vitality. Yet there is
enough tn the play hold attention. The book is
not merely stalking horse for the music it presents
well-drawn characters and plot which is dvertiDg
1t may be said that the anxiety OF the managers to
please the eye has led them into extravaganza in the
purely decorative depaI tnent. but this is a
fault which the patrons of the Casino will easily for
give. faded sppetites in this respect Will find some
thing stimulating In the Highland costumes worn by
some OF the choristers Just the admirers Of new
devices will enjoy tse chorus OF women In riding
habits and the musical melodrana IN the first act dc
signed to heghen the effect Of the entrance OF the
sinister element by consOrlng II with the frivolous
conduct of the heroine at the planoforte Here are
two conceits that both unhackneyed and engaging
employed by Herr Mnloecker.
1t is depreciate the sumptuous furnishings Of
the piece the tasteful groupings contved by the
stage manager to say that the chief strength of the
Operetta lies in is the chief merit of the
ptOht lay In fha sin of Aron.
forces. Lilly Post, Annie Meyers, Charles Bas-
sett, William Puette and Harry Macdon |
Ough sang as if with hearty appreciation Of
the comparative dignity Of Mllloeckers measures and
the chorsters sang smartly they looked, which
Is saying good deal For those who comedy |
only in horsepay there seemed to lie no part In The
new operetta for Mr.. De Angels The casting ol him
for the part Of the hero was indeed relic Of the
perverted system which has taken such strong ana
IuinOus hold the opereta stage here and In Eng
land. Parts like that filled by Mr.. De Angels are
written by The Viennese composers for good singers |
and polite comedians. Consequently They suffer for
the change which they subjected here because
OF the supposed necessity of giving employment to |
low comedian. Yet II must be said 10 Mr. De |
Angslis's credit that he showed appreciation of the
real nature ofithe part and tried his best TO en-
body II.