New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-12-17

NINE. CAI.NE As A DRAMATIC SINGER.
THE PROGRAMME FOR THE WEEK Mr.. zoELL-
NER's NEW A-ANNGUNCrMENTS.

THE PROGRAMME FOR THE WEEK Mr.. zoEiI-
NER's NEW OPERA NNGUNCEMENTS
The strong foundations on which Mime. Calves
reputation rests convncingy dsclosed AT
the representation Of "Cavalera Rustcana."
at the Opera House last Friday evening. IL
Is statement that does not outstep the limits
Of conservatism and sobrcty to say That no inner
lyrico-dramatic Performance than her santuz"a
has been heard and witnessed In America IN TINS
generation. II parallels 70 be sought for II, II
can only be In the work of the greatest artists
brought forward by the German company when
occupied the Metropolitan Opera House from I'''
10 1891 In Mime Matcrlas Brunnhildc. Nine
Brandts Fldcs from the hisrionc point OF vlew}'
Herr Nicmann's Siegmund and Tristan. ana Mr'
Fischcr's Hans Sachs the same large measure OF
devotion to a high ideal and capacity to body II
forth was noticeable. This Is company In whch IL
is an honor 10 be found. but Mime. calve belongs
there by every right. Five minutes OF such singing
and acting as she dill last Friday are worth
week Of the ordinary operate carolling. she held
her listeners 50 completely captive and swaycd
them so powerfully that she compelled even the
foolishly and anectcdy frantic claqueurs near the
stage to hold their peace They could only make
their boistorous clamor when the old-fashioned APP
peal was made to their atrophied intelligence by
high note scrccched by the tenor Mime. GAVE
has made n demonstration In this opera which was
absolutely necessary to an understanding OF Mas
has a conventional ring when sung in the conycn-
tonal manner. That Nine Calve never does. Even
In the duets with Turridu and Alto she saturates
her par; Of the music with the most intense
emotional individuality. She seems TO sing much
Of II TO herself she decldms 1t as II 1t were what
It really is, dramatic speech with it's emotional
contents raised a higher power by the music. In
moments Of extreme excitement one scarcely re-
members that she IL singing at all. Carried along
by the torrent OF her feelings the listeners accept
her song as the only proper and natural expression
for her emotional state Were she only To sing she
does her performance would be the most note
worthy artistic manifestation OF which Mr.. ABB
bey's company Is capable but she could not sing
so without acting az she does. The two expressions
arc one; they are mutually compemental 1t is her
profound conception OF the dramatic character and
her wonderful faculty OF giving 1t form and sub
stance that prompt her to sing as she does IL Is
not nature subor1nated to art, but art vitalized
by nature Tone. quality phraslng. everything that
enters into the mechanism of singing seems sloh,-
taneousy produced by thar emotional agency when
IS the first law OF musical existence Nine 'aiVe
associates in the representations in which she takes
part capable Of standing on the same plane with
The occurrence OF the present week in theatrical
and musical circles which is entitled to the SINGER
est interest will be the production of new opera
by a resident composer. At the Irving Place The
atre on tomorrow evening Mr.. Heinrich Zoellners
one-act opera, "Mateo Falcone." will have its first
performance being associated with Leoncavallos
"Pagliacc" Mr. Zoellner is not "A novice In operate
composition lie has written n Faust" opera which
had a creditable the German stage. IL
will be extremely interesting to observe his venture
into the field which Mascagni and Leoncavalio
have popuarzed. The story OF Mated Falcone" Is
r ansn as TG% aM pGes om ny srsan pursued by
gendarmes. takes refuge in the mansion Of Falcone.
son Fortunate for n money consideration TO hide
him from his pursuers. The gendarmes. headed by