Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1895-03-10
TAvARY IN TANNHAUsER.
An EmincntIy Successful Engase-
ueuf Closed mt the Academy.

ment Closed at the Academy.
The Tayary Grand Opera Company
brought to a close an eminently sue
cessflI engagement-from an artistic
standpoint-at the Academy last night,
presenting ''Tannhauser."
The pure, untrammelled Wagner, the
epoch-maker, Is not heard In this drama
till the last act Is reached, and the emo
tional states are centered in two prlncipal
personages. Elizabeth and Tannhauser.
and the subsidiary Wolfram, who. by
force of comparison, acts as point OF
repose. As for Venus. she is never any
thing but an explanation OF Tannhauser
feeling, and the other persons or the
drama are simply accessory. In the nfst
scene We have the minstreps safety, and
warming for purity, opposed 10 the al
legorical exhibition OF the mastery OF
sin. In the second scene we have his
sense OF guilt and his remorse, opposed
to the devotional simplicity OF the Land
graves court and the departing pill
grims.
In the second act we find the remorse
deepened by a feeling of unworthiness,
as IL Is confronted with the love or Eliza
beth, and then comes the revenge OF
guilt In it's betrayal Of the re9entant SIN
ner This brings us to the despair or
Tannhauser, and that OF Elizabeth, each
differing from the other, in accord with
the two characters.
THE THIRD ACT.
The third act is filled with the gentle
and pathetic grief of Elizabeth, and the
stormy, passionate misery OF Tannhauser.
This is an emotional schedule, which
gives the musical dramatist goodly field
for the composition Of noble music. The
L. fllg "a
fine pedal-point for the second scene or
the first act; but that is all it is, and its
richness and interest as absolute music
simply initiate against its acceptance as
a. factor in producing a pure Wagnerian
result 1t is a good, ground bass, but
the heart of the music lies elsewhere.
The piping OF the shepherd on the rock
is a purely theatrical device, and the con-
test In Act ii. IS merely a preparation
for the outbreak Of the unhappy minstrel.
IL is frankly theatrical, and is generally
admitted TO be unsteady inferior to every
thing Wagner wrote after Rienzi. The
master hand appears again when Tam
hauser bursts into his unhallowed praise
OF Venus.
THE PRAYER IN THE THIRD.
Madame Tavary again made great
impression, particularly in the powerful
scenes in the second act. while her beau
tiful delivery Of the prayer In the third
act touched all hearts. Payne Clarke
appeared to be out OF form. except in the
duet with Elizabeth. which went well
enough. Nina Bertin- Humphreys looked
attractive as Venus. but did not sing with
much inspiration. The male honors fell
to William Mertens for his admirable i'm
PRESERVATION Of Wolfram. His conception
OF the part was poetic 10 degree, anu
he sung with fine expression, notably in
the apostrophe to the Evening STAR
and in the music at the Ministries tourna-
ment. The choruses were sung with
superintendent vigor and the orchestra
was excellent under the baton OF Emerico
Morreale.
MR. POLK MILLER.
Polk Miller will give an evening OF
story and song at the Young Mems
Christian Association HALL tomorrow
night The proceeds Of the entertainment
will be handed TO lady who is engaged
In missionary work among the factory
girls Of this city Mr.. Miller promises
that The entertainment will be the best
he can give, and It is hoped that 1t will
be extensively patronzed.
ALEXANDER SALVINI
Alexander Salvini will open three
days engagement at the Academy OF
Music. beginning Thursday. March 21st,
In elaborate scenic productions OF the
romantic and classic drama. The plays
10 be presented have not yet been de-
cided Mr.. SaIvinYs repertoire includes
"The Three Guardsmen." "Ruy Bias"
"Don Caesar de Bazan." Friend Fritz"
"Cavalleria Rusticana." "The Lady of
Lyons" Romeo and Juliet" and The |
Student OF Salamanca" Hamlet" and 4
"Othelio" arc also I'm nrena ra ton