New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-08-24
MUSIC-THE DRAMA.
RIZET'S PEARL FISHERS
p,Rsr AMERICAN PERFORMANCE IN pnILA-
DEIpIIIA
InY TELEGRAPH TO THE TRIBUSE.1

c.rt suite form. 1t is almost needless to say.
howeyer that those two works have created
gary general and very genuine interest in the
composer. and ardent admiration for that genius
which had 1t not been quenched so early by death,
u,ould In all probability have saved France the
humiliation from patriotic point OF view of
being dependent now upon the hated German,
Wasner for everything at novel and st.
tractive in the once-called National Academy of
Music known in these days the Grand Opera.
Whether the interest which has been manifested Of
late by Frenchmen in the earlier operas of Rizet
is altogether like that felt I'm America might be
open to question. 1t is possible of course that the
cause had something in it like that which created
the Berloz cult. Immediately after the Franco
German Three of his operas which preceded
Carmen (Which his last work-he died three
months after it's first performance have been
brought forward of late. and though they have en-
gagged the earnest attention of the critics. the new
performances have not resulted in setting aside the
original verdicts upon them. Neither La Jole
File de Perth" (based on Sir Walter SCOTS ro-
nance, nor LES Pecheurs des PerleS, nor
"Djamileh' uhe immediate predecessor Of car
mem has been popular success. In each case
the discovery has been made that IT was only In
Carmen that Bizet came into his estate az a COM
poser of marked and delightful originality This fact
makes the persistency OF the effort to rehablitate
the older works object of scrutiny which scrutiny
in turn. banishes to a considerable extent the
amiable notion that II either purely artistic
or purely patriotic impulse which was at the
bottom of the effort to create Bizet cult. French
musical history is full of instances of the power
of the music publisher and of singular methods
chosen to it. The production of La Joe
File de Perth" and Les Pecheurs des Perles,"
perhaps also of 'Djamileh." have been in
point. A few years ago Bzets publisher resolved
TO take advantage of the popularity of Carmen
10 force a market for his other scores. He
f,Sad IN sell rieht n
the theatre desiring that right should also pur
chase LA Jolie File de Perth or Les Pecheurr
des Perles" The device profitable to the pub
Usher. but does not TO have benefited the
fame of poor Bizet. for the reasons already indi-
Gated.
These considerations are. however. merely side
wise excursions from the present purpose. Les
Pecheurs des Peres' had its first performance in
America this evening at the Grand Opera House in
this city. 1t done under the English title THE
Pearl Fishers" by Mr.. Gustav Hnrchs's company,
and the reason of its choice doubtless, sin
cere desire to acquaint the public with an UNI
familiar work from the pen of an acknowledged
favorite The opera, which had its first perform
ance at the Theatre Lyrique in Paris nearly thirty
years ago september 80. 1862 belongs in the cate
CORY of grand opera, and in choice of subject be-
trays the influence of the works which DOM
inant in Europe at that time. It's story smacks Of
Spontinis La Vestale" and Bellini's Norma"
The heroine is young woman who has
consecrated herself life of chastity.
On the coast of Ceylon the pearl fishermen are en-
gagged in their pursuits. To achieve success they
bring a vestal virgin from distant city that she
may by her song very ford. Meyerbeerian song it
Is by the way exercise the spirits of evil and in
woke the spirits of good upon the work Her re-
ward is to be the largest and finest pearl found
but this only in passing: II is mentioned only as
possible explanation of the fact that when this
young woman discovers her lover Nadir wandering
he sher-f o. office
and seek happiness egitimately The fact, then that
she coyets the promised reward helps along the de-
velopment of the opera TO its dramatic conclusion
But the vestal virgin (using the term on the lucus
lucendo' princple) has not only one lover
but two; not only the first tenor Nadir but also
the barytone Zurga This fact helps not alone the
dramatic complication, but also the musical en-
semble and paves the way for one Of those scenes
of magnan!mous reconciliation and self abneGation
which makes opera the great moral engine We all
know It to be. The lovers are friends and have
both vowed to get quit of their unhappy passion
FOR the priestess Leila They chance however both 10
discover that the yelled vestal who chants for the
fishermen on the cliff is their old flame. Nadr re-
news his protestations of love and receives Lea's
protestations in return Their sin is found out
While returning from stolen meeting with the
maiden Nadir is captured by the fishermen, who
resolve to punish the sacrilege with death. Zursa
is torn with conflicting emotions-friendship Tor
Nadir. love for Leila. Jealousy and revenge on Tor
strawberry mark or other conventional SEinDol oi
deliverance. Stay. that necklace 1t is, 1t is she
who saved my life. Gratitude wells up in the
heart of Zurga like a geyser. He sets fire to the
huts Of the painfully pous fishermen, ana In the
confusion the lovers escape.
woful book truly and one which in itself would
condemn an opera in these days of dramatic vrility
and consecrated expression: but 1t must be remem-
bered that THE Pearl Fishers belongs to gen.
Grafton ago.>At the time of its production it
startled the Partisan critics by reason OF its sonor
ity and its elaborate workmanship Why II did inns
Is of the mysteries of musical criticism. To-Day
II sounds like diluted Meyerbeer with dash, but
only slight one, OF Delbes. Fetis thought that 1t
was conceived in the Wagnerlan style. The name
of Fets once potent In conjuration; but moth
ing is more obvious TO one familiar with Wagners
works and 1.-The Pearl Fishers" than that
the resemblance between them is about great
as that between the society verses of Austin Dob
son and King Lear" The French critic knew not
Wagner and simply followed manner of talk
that can still be heard in Paris or at least could
be a few years ago. / myself have been told in
a tone of ecstatic admiration by distinguished
French litterateur that some music which the
talented Young Greek composer Samara play
ing for us was 80 Wagnerian." The only reason
for the remark which | could discover was the
fact that the player Che was exploiting one OF his
operatic ballets) had his foot on the damper pedal
OF the planoforte and was pounding on the Keys
like a blacksmith at work.
one feature In 1.-The Pearl Fishers might be
set down by one familiar with Wagner Out not
with the operate literature which preceded his
dramas) as borrowed from his system. There is a
typical phrase in the music which applies TO
ella and Is introduced and anon when she
90 nrss.nt In the thoughts of others, or on the
stage In the body. 1t is an effective phrase es-
pecially In the finest number Of the opera the duet
between Nadir and Zurga. in the frst act; put II
wants all characteristic potency, ana It's nitro
duction is never accomplished with anythihg hhe
the dramatic eloquence that speaks from .'e Vp,,
col ,hr,ss which o,ickens our pulses in Carmen
In short Bzet in this score. Is nothing more IMAM
a talented eclectic who is feeling about for erouu
on which to take a stand. The story calls LOT
local color and In this the Bizet OF twei'n year
later master, as we h"o" LUZ