The sun., 1897-01-31
rms opKn<.
~Tvistsr end Isoide- ne che Mst~epeiitsr
Opern Msnse.

opern honee.
"Tristan nsld the stage Of the Metropolitan
yesterday afternoon. Jean de Reszke repeating
again his remarkable impersonation OF the
tltle-r0le. We say remarkable. because IL be-
comes ever more and more q marvel as II is
keenly watched aud carefully discussed. Even
for such a master OF the secrets OF dramatic
art, his INTERPRETATION is an unexpected tri-
umph. since the force and power Of Its grand
comprehension and the moving qualities
OF Its sympathy grow constantly upon
those who repeatedly consider DE Reszke's
rendering. Such an assertion 10 easy
to make. The justice OF IL should be
established by at least n few explanatory words.
The character OF Tristan has In II a
tngo OF sadness more than q tinGe,
indeed, since its chief exposition is Of
that ssddest of all emotions-a desperate.
nnsatished longing for love and happiness the
fuihlment OF which comes only when his death
hour ushers 1t In. And. as De Resske has par
ticular gift for depicting sorrow with all its
heavenly messages Of truth, Trtstdn lies nstu-
rally within the range OF his best efforts. One OF
Jeans especial charms Is that he MAKE his hear
ers believe that ho adores every parsonage he
delinehtes. Like every great artist. he either
regards himself as SO many various individuals
or else ne thinks OF his heroes as his own chill
dren. his own creations. very near and dear TO
him Tristan Is surely one OF the best OF them all.
scheme OF bis management OF the part and such
exquisite Judgment in the proportion OF
ilneiy wrought wrought n ciimaIes when hi. frenzy %
Is at It's height such gentle. pititul utter
snees when he turns tru.tinaly 70 the
now Of the death scene, for enormously great as
are the two other acts, II Ia In this last that
both Wagner and his adequate Interpreters are
more seriously at their best. Just go lar as sui.
fering and renunciation are greater and
Grsnder 81 N Ter than th. illusions OF enjoyment
tan higher In their meaning than the second
one. Looked at as three great pictures. how
creations! The first, how heartrendlng In Its
portrayal OF the heayiest sorrow possible to
hero" poor IsDid, confessss herself to be; and
every living soul must agree with her that only
the death drink" can heal such wound. as
Isolde die thousand cruel deaths by n sudden
magic change. ineilablo JOY. seems to surround
her and 7riStdn. Then with what genius WaR-
ner paints the hazy. elusive happiness OF that
night-the dclirious madness, the dangerous
on. , cry q SS, and
old King Mdrkes reprovinR words. The
seriou. contemplation OF Tristan and
only with the emotions so great n tragedy must
arouse but with deepest wonder and admlra-
ton for its marvellous structure, its occan-like
immensity ms "a musical score and It's tremen-
dous value as an art production.
Hut IL Is too intense to hear often. II skaters
ones nervous system to the very foundations.
You shudder to think what force is used In It's
what serious labor by all concerned.
from the hero and heroine to the man who
plays the tympanI. Mr.. Seidl gains q large share
OF this respectful awe in fact lie came out with
the others before the curtain yesterday to re-
ceive IL.
RuTuennl was taken yesterday by Herr Mer-
ters. owing 70 Mr.; Bisphains indispositi tion The
substitu did well, but hardly brought out as
has been done the extraordinary pathos and
strength of this noble character. which,
under the most favorable circumstances. Ia
full OF interest. To realize the dramatic force
ot this part one has only to remember how en-
trely the attraction of the purely sensuous love
story Is put in allegiance by the tender
ndeiv OF this dear anectionate ola re.
minutes Of the dying hero's struggles tho senses
are iilled only with reverence for 80 precious an
friendship.
Mime. I.itvinne repeated her admirable render
ing OF Isolde