The morning call., 1895-02-14

Wagner laid down the principle that dramatic
action was the supreme end and aim OF opera.
That this can be pushed to the point of absurd
ity has just been shown by a new lyric drama
called "Lyderic," produced at the Grand The
atre of Lille, in Belgium. The plot is based on
an old Flemish legend and in many respects
resembles Hamlet but the music has been
made SO subservient to the action of the play
that the action is crude and startling. This is
the more regretted, as Emile Ratez the COM
poser. has shown great dramatic force ana
originality. When the curtain first rises
Lyderic has the stage to himself ana SOHO
quizes, but without singing an aria or romance,
then the heroine enters and the love scene
continues to De one continued defamation,
with many notes repeated ana the principal
words accented musically. In the second act,
where Lyderic reads his fathers will, he merely
speaks the words without musical introduc-
tion, though the melodies in the latter part of
this scene are so broad and flowing as to excite
regret that Ratez scorns to use melody more.
Duets, trios and choruses, in the ordinary ac-
ceptation OF the words, are contrary 10 the
principles of conversation practlced by this
very advanced composer. The general opinion
was that though Ratez shows remarkable
talent he has spoilt his opera by crankiness.
But who knows? The same was said OF Wagner
once.
Verdi's "Falstaff' has proved the great sue
cess of the Metropolitan Opera-house season.
New York, indorsing the verdict OF Milan ana
Paris, has not known whether to admire most
the delightful ibretto of the poet Boito or the
work of the Grand Old Man of Music, who has
plunged the poets lines into perfect sea OF
melodic champagne. According to the news
paper reports, the Metropolitan audiences,
when they are not convulsed with laughter at
the raciness of the situation, have to exercise
great self-restraint to keep back the manifesto
tions of their delight between the acts, when
applause would be untimely. "Falstah'' does
not admit of any encores, for there can be no
repetition of the music without interruption
and dislocation of the action. One might as
well ask Hamlet to repeat his soliloquy on sui
eide as to ask one of the characters in 'Fal-
staff to sing again q single measure once
sung The play moves almost with the rapid
ity of the spoken comedy.
Paderewski seems to have been quitesurprised
that howl of Indignation was raised at his
refusing to play at Torquay because the agents
had sold the house out at less than his usual
rates. Having proved to his own satisfaction
that great pianist must have his price he is
now preparing to win over his admirers again
by acts of generosity. Hearing of recent
colliery explosion Paderewskf has offered to
devote the entire proceeds of an afternoon
recital to the sufferers. He has also subscribed
lavishly to the Eugene Oudin testimonial
fund People who had begun to associate the
word "sordid' with the chrysanthemum-
banged pianist are now smiling upon him as
they were won't to smile, One thing that may
have united his pursestringsis is that Herr Sauer
is beginning to loom up a rival in the affec-
tions of English audiences at least.
The matinee-girl has forgotten Paderewski,
the great Paderewski, whose hair looked like
golden cloud at sunset. The idol of New York
and Chicago is now Ysaye, the Belgian violin