The daily morning journal and courier. [volume] (New Haven, Conn.) 1894-1907, 1897-03-26
WAGNER IN A MERRY MOOD
''DIE MEISTERSINGE NGER,PRESENTED
AT THE HYPERION.


An Emphatic Artistic Success-The Size OF
the Audience visibIy Affected by the Gou-
mods Concert "Wednesday Evening-The
Damrosch Company Sustained It's Well
Earned Reputation.
Wagner's one comedy-opera, ''Die
Meistersinger" was presented at the
Hyperion theater last evening by the
Damrosch Opera company, conducted
by Mr.. Walter Damrosch. The audi
ence was only fair in size. New Ha-
Ven cannot support two musical events
such as Samson and Delilah" and
German opera when they come on sue
ceeding nights. In this instance the
public's sympathies were in favor of
the local organization and the opera
suffered in proportion. Last years
performance Of "Tannhauser' by Mr..
Damrosch and his company was one Of
the great events in New Haven's mu-
sical history. This years performances
did not enlist the services Of any sing
ers of so great interest to the general
public as either Frau Lohse- Klafsky or
Max Alvary, which accounts partly for
two performances. Moreover, the gem
eral public of New Haven is not yet
educated up to die Meistersinger."
The comedy elemnt which is deliciously
humorous to the cognoscenti, is 'ca-
Ware to the generel." One Of the more
spectacular works Of the Ring" such
as die Walkure" would probably draw
more largely.
But what the audience lacked in
numbers it made up in enthusiasm.
And here again it betrayed that it was
educated in the Wagner traditions, be-
cause it applauded whenever 1t felt dis
posed instead of waiting for the end
of the act. The performers and Mr..
Damrosch probably pardoned the inter-
ruption in consideration of the good in
tention back Of it. There is only one
opportunity for an encore in the opera
and that is after the quintet in the last
act This is frequently demanded in the
places where the Wagner traditions are
most piously preserved. The audience
desired repetition of this number
last night, but Mr.. Damrosch left his
desk so soon that there was no oppor-
tunity. But the singers were recalled
five or six times and when Mr.. Dam
rosch himself appeared with them there
was a special demonstration of such
very hearty appreciation as must have
warmed his heart to our city.
die Meistersinger" is regarded by
many of Wagners critics at his most
valuable contribution to operatic litera-
ture, and to be certain to live even if his
other works should pass into desuetude.
Although, like the other works of his
maturity, 1t is based on the use of the
leit-motif, the motifs in "Die Meister-
singer" are comparatively so few in
number, and SO very obvious in their
intention, that their use is apparent
even to those who are not musically
educated And the opera, apart from
it's musical worth, has considerable
value as a faithful picture of medieval
manners. The characters, moreover,
have especial interest to musical stu
dents, from their symbolicsl character.
Thus .Beckmesser'' represents the an
cient contrapuntal school which regard
ed music as a species of mathematics.
Walter Won Stolzing represents the Ro-
mantle school, and Eva may be said to
personify love which was the inspira-
ton of the poetry and music of the
new school. Daytds explicit directions
for becoming master-s singer are Curl
ously interesting to musical students as
showing the precise and formal con-
struction of music of that school. al
knowledge of German is necessary for
an appreciation of the text, which is
full of humor The human interest is
strong enough to make the opera pop
ular even to those not understanding
Owl nv nor
reproduce this comedy spirit. Although
the opera is very beautifully sung by
the Italian company of the Metropolis
tan and very well acted as to the prin-
cipal roles. the real hunlor of the situa-
tions entirely escapes them. The per-
formance last evening, although quite
inadequate in some ways, was delight
full for the manner In which the medic
val atmosphere was retained. And the
marvellous impersonation of "Hans
Sachs" of Emil Fisher is sufficient to
sweep any deficiencies out of memory.
Of Fisher, Gadski and Kalish, for
their singing, and to Mr.. Damrosch for
his spirited and sympathetic reading
of the score the honors of the perform
ance are due. Emil Fishers Sachs
is unapproachable by anyone whom
this country has seen. 1t is a charao-
terization that is instinct with life, rich
in humor and humor not unmixed with
pathos. Fisher has so thoroughly as
simulated the role that it is common
praise to say that he Is "Sachs." Frau
Johanna Gadski was a sympathetic
Eva She did not denote the humor of
the role in her acting, but 1t was well
balanced bit Of work, and she sang
with considerable taste Herr Kalishs
fails entirely to grasp the poetry and
charm of the role of Walter" and his
singing is bad as such. But his voice
is naturally one of great beauty, and
his upper tones were thrilling at times.
He sings with fervor if not with dis
cretion Marie Mattfield was more than
usually melodious as "Magdalena," but
she lost sight of the humor of the role
Stehmann was rather to sardonic as
"Beckmesser," and he sang almost too
well. Somer as "Pogner' sang in a
hard metallic voice that was not pleas
ing. Mertens sang very we'll in the
small part of ''Kothner." Paul Lange