The morning call., 1894-05-10
MUSIC AND MUSICIANS.

In Paris Verdps "Falstaff" has received an
ovation equal to the phenomenal one given it
at the Scala. Milan. where II was first produced
on the 9th OF February, 1898. 1.-TWO thousand
Partisan hands," says LIE Figaro, speaking of
the first night, "countersigned the verdict of
Milan. This solemn homage rendered by the
elite of our people 10 Verdi, the youth of 'S2.
shows that the French and the Italians have
the same blood In their veins in spite OF all
triple alliances. Such, at least, seems to be
the explanation OF the mysterious magnetism,
which did not leave hand In the house mac
tive. Personal honors were heaped upon The
master. who pale with emotion, had to do vio-
lence TO his modesty. and appear on the stage
several times and share with his Interpreters
first of all Maurel. an Incompatible Falsta1,
and Nine. Delna, an ideal Qulckly-the braves
of the whole house. literally trembling with
enthusiasm and intoxicated with pure and
noble Joy. 1t was natural that the poetry Of
the librettist should have share In the fete,
and between the acts people transmitted TO one
another the improvised rhymes of an admiring
poet who had remembered even the publisher.
The verse began, Verdi. Boito, Rcordi. o la
triumphante tripllci Qui de vous ma pas ap-
paudi. Verdi, Boito. Ricordi?'"
Another French critic, "A. B0isard, OF lie
Monde lllusre says of "Falstah": People
who did not expect TO admire found themselves
conquered seduced, charmed, and in spite Of
themselves began to applaud frantically and
hail the author with acclamations for the de-
licious impression OF art that they owed to
him, an impression upon which they had not
eouuted at all. 1t often happens that when
men OF genius stoop TO friv0lty they cannot
sncceed In shaking off a surprising heayiness.
Even Shakespeare In the Merry Wives OF
Windsor from which 'Falstaff Is borrowed,
laughed in manner that was not very airy. In
the 'Miestersinger' the type vaunted until now
as the perfect ideal of lyric comedy, Richard
Wagner INDUCED intermnably in very stolid
facetiousness. Thus it was with profound dis
trust that we saw the composer of the Re
quiem.' Aida and 'Otello' prepare TO make
merry. But what a surprise was in store for
us, the more exquisite as il was unexpected,
for The music OF 'Falstaf' Is adapted with ex-
traOrdlnary tact to The merry characters. Even
the instruments vie with one another in ex-
pressing mirth, and keep the ear continually
on the alert by their inexhaustible good hu-
NOR"
Such q scene has never perhaps been wit
messed In an American tbeater as that which
took place in New York at the closing perform
ance of the Metropolitan supplementary opera
season. Two days beforehand the manage
ment bad ceased selling reserved seats, and
when the doors opened for the perform ance
the battle was to the strong for only the abb
bodied succeeded In wedglng themselves into
the theaier. The house resembled huge con-
servatory, even the men carrying large bou-
quets-not for purposes OF personal adornment.
however, but as marks of approval Tor Melba
or Caive or Eames or Arnoldson or Scalchi.
butto enumerate all upon whom flowers were
showered would be to give the personnei OF
the troupe. Each excerpt from "Carmen."
Aida" Hamlet" "Romeo ct Juliette" and
"DiDora" ended In a fusillade of flowers, wild
applause and criss OF "a Speech" IN the max
ing Of which some artists came very near
breaking down themselves. so contagious was
the intense emotion In the audience.
Verdi has returned TO Italy and Edv ard
Griegi the composer who Is now having his
day OF triumph In Paris, at the "Chat eleI" con-
certs, however, and not as the Opera-bouse
rhe famous Scandinavian Is thus described:
"A little, thin man, with an energetic face, a
high, bare forehead, and bushy hair. He is In
| appearance the personihcation OF his work
Although he has travelled good deal, he loves
his dear Norway, aud is happIest there. An
ardent patriot. he has given form to the melo