New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-11-28
TRISTAN UND ISOLDE"


Wagner's Tristan und Isolde" performed in
German by the principal artists OF Abbey and Graus
company-such Is the record of last night at the
Metropolitan Opera House. 1t is phenomenon
that invites discussion. for IL has double signf-
canoe. touching tho performers well the public
II is an open that this violent departure from
od-fashioned operate conventions is the work Of
NJ Jean de Reszke. He who had made himself the
idol of the public by his singing In the sentiment al
operas OF the French and Italian stage. at the
height of his popularity, found that they could no
longer satisfy his artistic ideals. He turned to
Wagner Most ardently did he plead and earnestly
did he labor TO bring about representation of
Tristan und Isolde" last year. but circumstances
would not permit Wagner's lyric tragedy does not
concern Tristan alone. but the lovers rapturously
proclaim in their passionate outpourlngs in the
second act. Tristan and Isolde But neither from
Covent Garden nor from La Scala. from
the Partisan Grand Opera. where loftier purposes
than mere ascivious blessings ought TO obtain could
representative of Isolde be drafted Then Bay
reuth and Nine Nordca TO the rescue Our
American prima donna had made the pilgrimage
10 the Wagnerian Mecca which has often been
fatal 10 the puny conceits of operate singers. She
too, had caught the Infection or fallen under con-
v,ction. and her artistic nature, long 'crbb'd
oabned and confined" by the Italian repertory bios
somed into new achievements. The engagement of
M Seidl. and the realizing of a popular need
which Mr.. Damrosch's season last year brought TO
the management, fully opened the way for the phe
Ct preparation was done with enthusiasm which
sent Vitalizinc cks from a galvanic battery
through an institution which two years ago seemed
hopeessly given TO the old regime. How differ
ent all things look now. There disappoint
ments a-plenty in the representation of last night
but no Encouragement even in the most grievous
OF them a superb forward step has been taken
toward the things which Will wrench noble nstitu-
ton out Of the idle rut into which it had fallen. and
make of Ii an agency for the refinement of popular
taste in the United States and the advancement of
American art Let the meaning Of this representa-
lion and those which to follow along the lines
which 1t has laid down be fully understood by
artists, managers and public and we shall not long
have 10 talk of the opera an exotic which must
be transplanted hither every year from foreign
cline, but have it as a native plant and enjoy its
sweet ministrations with pleasure which shall
be intensified by patriotic pride.
Only few of the things which demand consid-
grafton can be discussed now The artists VII, who
view OF their tasks duties and privileges, ana IN
consequence their work cannot be disposed OF like
that OF the ordinary operate naronettes. In
action and in song they bodied forth conceptions
OF characters that heroic in stature, and no e-
innate OF their work would be complete watch did
not attempt a study of their thoughts OF Wagners
hero ana heroine. But that must await more
favorable occasion. The musical side OF the repre-
senaOn is enough to deian US now II WAS suce
New-iork audience TO contemplate before: Mr.:
than they ought to have been. had done wonders.
Without loss of any OF the passionate expression
without sacrifice Of sorority, except such as was
the natural penalty Of the orchestras weakness
wishes in having the instrumental symphony serve
the purpose OF an accompaniment TO me foces, no"
grac!ously, lovingly. caressngly, eagerly the meIo,
The melodies that issued from the mouths Of the
singers, How buoyantly everything hoated on the
food Of harmonies now wh.ring sentiy IN eddies;
now rushing along Ike streams OF molten lava!
This is what is meant by preparing not an opera,
but Tyre drama And as for the singers Lei
none be excepted. for al deserved me urpute OF
warmest praise and heart!cst admiration Inc puo-
lie knew what Miss Brema could 90 with her Ic,eiy
voice ana true insinctsIai aLaus. IN IN every nofe
n F on m Ss Pne and ad 0 a kOG @
IN music 50 foreign to ali that they have sung
here heretofore. How can II be summed 1np? Let
sung IN tune throughout. Never before have we
had Tristan able to sing the Hsc
Never since Nine Lehman left US have We had
an Isolde capable OF the same feat. But Nine.
Nordica and NJ de Reszke not only sang in tune.
they gave the text with a distnctness OF enuncia;
t.on and a truthfulness of expression that enabled
those familiar with the German tongue TO follow
even its philosophical purport. 1t Is wonderful how
Nine Nordica rose to the opportunity which Wag-
mand the larger her capacity. In The climaxes of
her voice rang out with thrilling clesrness, power
and briliancy and forced upon all recognition of
ability comes with willingness and desire. AS for
note he sang ae Ana Edonar d as KIM
Mark? We have aiy avs Jared well with this char
bu, Edourad silenc-d The cavilling Of all those
whose ignorance 10 .chlng the higher purposes OF
The dramatic poet save led them TO set down
Mark and Wotar gloomy bores addicted 10
serInonizng. When the speech Of Marke TO Tristan,
In the second act il delivered generously and
impressvely as II delivered by Edouard de
keszke no one Will wish Wagner had adopted the
Tennysonan variation OF the story and permitted
the brain in order to sxemDlify Marks way"
II is a noteworthy fact that in all the cast there
were but two Germans by birth. Herr Riedel who
sang the part OF the shepherd. and Giuseppe
kaschmann, who the Kurwenal of the per-
formance. Kaschmanns career has been spent
the Italian stage and only TO his performance did
the slack OF old operate conventions cling.
The house was crowded the popular enthusiasm
as boundless that which inspired the singers.
To say more Is needless.