New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-08-30
PUCCINI'S NEW OPERA.
"MANoN LEsCAUT" PRODUCED IN PHILA.
DELPHIA.
ENTHUSIASTICALLY RECEIVED BY LARGE

ENTHUSIASTICALLY RECEIVED BY LARGE
Arp1ENcE-FEATUREs OF THE WORK.
fBr TELEGRAPH TO THE rRIBUNE.1
ph,,sds,nhia \ Aug &.-At the Grand Opera
tIouse This evening the Hinrichs Opera Company
produced for the first time In America Puccnis
onera "Manon Lescaut" AS operate affairs go In
America the production was an occurrence OF in.
forest not By reason OF the excellence OF the per.
Torrance, but because 1t afforded an opportunity
IN study again the latter day tendency OF operate
composItion in Italy, the home Of opera. Puccini IL
ono Of the lights of the school Of young Italy. His
onera has achieved decided success in his native
country and was one Of the novelties OF the last
London season. Unlike the works OF Mascagni and
I.eoncayao, with which, OF course, IL VIII be
compared It Is not an affair of one act but fully
developed not to say a long drawn-out drama OF
four acts Its kinship with "Cavallera Rusucana"
and 81 Pagacci" lies In the musical workmanship
not In the book The latter bears some resemblance
IN the ubretto which Meilhac and Gie wrote for
Massenet and occasionally one Is tempted 10 De-
leye that Puccini Is also acquainted with Masse-
net,s score--the best score by the way, that the
too-pro!ifc French composer has yet put forth
Both operas open with the first meeting between
Manon and the Chevaer Des Grieux. and end with
the death Of the heroine. In Masseaets opera TINS
catastrophe takes place the road to Tavre, from
which port the lovers were to be transported 70
America; in the new work Able Provost dehoue-
ment is followed more closely, and the DEATH wnicn
is designed to provoke the action OF the lacnrymai
glands and to condone the wckedness OF one OF the
most desplcabe characters ever brought before the
stage lamps happens near New-Orleans. Inc dii-
ference Il not significant so far as the composers
task is concerned, is II Of consequence tnat IN
stead of the gambling-room scene OF the frehcn
book we have a in the boudoir PROVIDED lor
Manon By her elderly lover. In this scene potn
composers have resorted 10 the device OF imposing
the vocal parts upon orchestral supstratum OF
dance rhythm. Puccin has achieved most de-
cIded success here through a very pretty notion.
He has Geron,e send some singers 10 Manon,s
boudoIr TO entertain her with madrigaL IL ISM
a SuIllyanesque madriga but a lovely composition
one OF the two pieces in the opera so 10 SPEAK
the rest OF the music flowing in continuous stream
regardless OF the old forms. The madrigal hrst won
the hearts OF the audience. 1t had to be repeated
and when il was succeeded by most dainty MIN
uet delightfully."- scored and full OF the gracelui-
ness of the dances OF two centuries ago. the sue
cess OF the opera was assured. Here the dramatic
conceit Is a dancing lesson given TO Manon . -, .
But IL Is manfestly impossible to discuss an tne
features of the opera In the little time allowed LOT
writing this dispatch The subject Will bear dis'
cussion under more favorable circumstances mere
after The principal people concerned IN the per
formance were Nine Selma Koert-kronold. an ex-
ceedingly intelligent and capable artist as New-
Workers know who never Sights her work ana meyer
goes on the stage without being letter perec IN nsr
part: Signor Montegrffo and Signor INiahi' Inc
audience was numerous and enthusiastic =, ~