New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-06-16
MUSIC.
" I PAGLJACCI.-

'he new opera, IL Pagliacc," given at the Gr1iu
opera HOuse last night, only an outline oil Inc
WORK OF Le0ncavallo which is occupying 50 mueh OF
popular attention in Europe just now Had we an
established opera. as We might easily have other
considerations than the purely social on one hama
and the purely financial the other prevailed
amongst those capable Of maintaining one. such an
artistic creation this could be produced 1t de-
serves and estimated at Its real value. As 1t Is we
are dependent for knowledge of the new maniesta-
tons In the operate field Mr.. Hinrchs and his
organization which, while II may command a species
OF admiration for what 1t attempts to do cali scarccs
be aIpauded for what 1t accompnshes. II is not
bad thing to exercise the Imagination at operate
representation when the work brought forward Is
which appeals 10 that lofty faculty, but 1t Is
little unfortunate when the Imagination must De
drawn on to construct OF the essential things
In the composition. This new opera Is one wmch
most obviously is entitled TO serious consideration
Nothing that brought to notice nj the representa-
ton last night would to justify the stir which
Il Pagliacci' has created abroad. but this, we are
inclined to think, due largely to the rough ana
hardy manner IN which the opera was sung, played
and acted and the many makcshifts which the cir
cumstances OF the compelled.
81 Paglaccir Is twin brother OF "Cavalleria
Rustioana, Its composer is young musician oil
thirty five years. who studied In the same conserva-
tory class as Mascagni, and has plainly mbibed many
OF the artistic notions that the pabuum OF the
creator OF "Cavalleria Rustcana." There Is story
that 81 Pagliacc' one OF the operas which were
submitted In the competition which resulted IN such
great good fortune TO Mascagni This would seem
to indicate that 1t had an independent origin ana
cannot therefore b. an imitation. Such conclusion
puts a pretty severe strain on ones credniiiy Ior
the points OF contact between the two operas are
many and SO striking that 1t Is difficult that one
was not inspired by the other. Perhaps the solution
lies in the teachings OF some professor at the Con-
servotory which Mascagni and Leoncavalo imbibeh
at the same time but IL is idle to speculate on Such
a subject. Let it suffice that the tendency OF the
COMPOSERS in respect OF dramatic exprcssNcncss Is
the same and that in its outward expression there
parallels OF Which the most obvious to the ordinary
listener is the device Of song In the Instrumental
prelude intermezzo In the nature OF an orchestral
comment between the two acts. brief. direct ana
hurried action In the play and s'artllhsy abrupt
and tragic ending 10 the play
in nothing is the tendency which has taken
possession OF the young composers Of Italy $50 lar
as Mascagnl and Leoncavallo are representative oil
them shown more stlikingly than In thlr ohoice
subjects and the subordnaton OF all the factors
which they control to dramatic effect II Is scarcey
necessary to say that, this being So the Old con
ventions OF the Italian operate stage are Ignored
by them. The old cut and dried FORMS with their
cadepces and Closes are thrown overheard completely
The melody has been freed from its old resiHc-
TONS and now flows or surges through the chahneis
cut out by the text. There is much violent con
iras In melody and rhythm to please those who have
a liking for things hot 4 the mouth Harmony
is called on more frequently than OF yore TO lend emo
tional EXPIRE. son and the orchestra takes part III the
.ction instead of merely providing foundation fol the
singing. All these things, prefgured IN TIE music Vi
Verdi and used by him with conSunInite mastery
but without disregard OF al the old conventions nave
become the stock in trade OF h> young c'iie'E"e"'
They are seeking 10 build up school Of realism IN
md hoy % q
imagine because of the Revision OF popular taste
In Italy from the conventional methods ~hich nave
so long prevailed In Italy tue desire to get nd vi
the threadbarc, hurdy -gu:dy list and the convicoh
which was bound 10 come That IN opera 'e p's
ought to have at least equal rights with the music
In the new opera this conviction l. phOh'hri
mite as frankly as in "Cavnllcia Ru,hcana" IT.
story IS one that has done service On tne STACY
before 1t Is that which, we believe, Is al Inc
bottom of "Pailasse," in which Frederick Lemai'r'
achieved one II his marked successes. The people con
cerned are a peripaetic company OF comedians
The Columbine OF the company IL loved by the
fool. She Is the wife Of the principal actor the
Pacliacco or mountehank OF the company. ana al
though she spurns the advances OF The iooi she re-
turns the love Of an outsider. The fool learns her
secret and betrays the guilty pair 10 the montehanS
This is the matter Of the first act. The second Is
occupied by the comedy enacted by the company De
fore a Village audience-a comedy with variations
The plot OF The comedy contains sit
uaiion like that through which Coum
bne and Pagacco have Just passed In real life Torn
by Jealous rage. the actor demands the name OF her
lover from his wife. lie seems to be acting we'll and
If ss; hs s aSsh Sd w pR'S TO % calls
on her lover for n. hsn hns ss
dagger THE comedy Is finished re pabv here i'G'
material that is intensely dramatic. IL cannot DC
said that music helps IT, but II must be SAID t. the
credit Of Sgnor Lconcayao, that his music rehec,s
It's sharply c0ntrasted emotions with remnrKabl.
fidelity. There seems 10 he eooi. ID, dramatic blood
as those Of Mnscagni. nor has he rs compe,. q
mastery OF the orchestra Though here we are CDNgei
again TO speak with caution ana mental reservation
because Of the character OF the performance put
ssrenade sung In the comedy by Harlequin but his
finest music is dramatic. at least. In intent Inc
most striking single piece Is TIE pr9ge s assr
brief Introduction. This use Of prologue j. re-
cnrrence to a feature Of the earliest Italian ylic
dramas-thOse produced by the Florentine reiormerS
who. while striving TO revive the classic drnma III
vented wlnt became the modern opera
For the zeal displayed by Mr.. Iiinrichs aud his
Singers We can only express the highest admiration
IL could only have been most commendabl" prompt
ing which the director to produce such WORK III
Koert- Kronold Sicnor Montegrf0. .ignor Campannri
Perry Averi and 6inor di Pas1uali sang ana acted
with much parDcstncss. though not always In manner
that indicated clear comprehension 81 what nre'tist
and composer expected of them. S they gave the
music in way which aroused great enthusiasm and
evoked several calls before the curtain for Mr. Hin
rchs and themselves. The opera viii be repeated 10
night and substituted for IL Ir0vatore" tomorrow
afternoon