New-York tribune., 1895-10-02
OPERiTIC Subjects.

When the new opera called "IIiinsel and Gretel'
Is brought forward next week at Days Theatre
II will be a little surprising II some OF those who
hear It are not set to thinking about the strange
contrasts. moral and aesthetic which the books
OF some modern opera writer's disclose. "fiinsel
and Gretel' Is a German marchen or nursery
tole. cast into dramatic form and set TO music
1t embodIes the story OF two children. who. lost
in the woods, hit upon the habitation OF a wicked
witch. who ate children and lured them into her
tolls by appealing TO their love OF sweetmeafs
Her house was built OF gingerbread, cakes and
tarts formed Its ornaments, and the window
names were OF barley sugar AS all readers Of
Grimm's fairy tales (alas. for the rest OF man
kipdD know, the children outwitted the ogre
by pushing her into the oven which she was
heating for the purpose Of roasting tiansel, ana
then found their way back TO their home with
pockets and apron full Of pearls ana precious
stones taken from an old chest In the ginger
bread house. One might think this material FOR
Christmas pantomime. but scarcely FOR an
opera vet HumperdInck's work has been The
reignIng operate sensation Of Germany Tor TWO
years and has had even more emphatlc tr-
umph than "Cavaleria' and "Pagliacci,' Italy 8
sensational contribution TO latterday lyric stage
successes.
1t Is the iuxtapositlon Of these German and
Italian works that awakens reflection On 'he
continued validity Of distinctions In art ana
manners founded on race. In spite OF the con-
fusion Of characteristics which is one OF the
fruits OF civilization II Is still possible TO OBJ
serve the Latin type in the operas OF MascaSm
and Leoncavallo, and thc Teutonic in the little
work Of Humperdnck. The former deal win
Illicit passion and murder; their success IS due
70 their uncomfortable eagerness OF expression
and the swiftness with which the Incidents fol-
low each other till the bloody Odtcome Is reached
The public had long been accustomed 10 things
"hot l. the mouth but not TO boiling them with
out preparation. They now have a new scnSa-
ton. which makes their eyes to start from their
sockets, their tongues to lOll from their mouths
and their breath to come In quick gasps. They
see only the elimination OF the drama the de-
yrlopment Of which they used to watch from step
10 step They are thrown into spasms Of delight
by n series Of frightful shocks 10 nerves and
moral instincts This is art, Of course, but 1t Is
the art of degeneracy; art divorced from the
sweet ssterhood with which she once dwelt in
Palace Beautlful-a sisterhood still championed
by the trace Of barbarlc honesty left in the
|
1t seems far cry from "Hunsel and Gretel'
TO THE Niblungs Ring" yet the former Is as
characteristic a product Of German tastes and
mental habits as the latter. Our musicians VIII
| be amazed TO find the whole constructive appa-
ratus of Wagner employed in the musical set
ting Of a nursery tale but it Is not that alone
which establishes the kinShip between Humper-
dinck's naive comedy and Wagner's tragedy
Both are fragments Of an ancient religion II
might be difficult TO maintain this of "Hansel
and Gretc' II the story were taken ont OF the
body Of German folklore, but it Is only neces-
sary 10 call to mind the analogy which exists
between Briinnhilde and Dornr6schen lwhom
we call the Sleeping Beauty 10 understand
how myths become fairy tales In the process
Of time, and TO be reminded OF that persistence
Of mental and moral habit which has brought
the lyric drama In Germany around to its start
Ing point. in The primitive religious drama