New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-12-15
Music.
GERMAN OPERA.

~. e,st ronroaontatlon this season OF German
opera AZ The Metropolitan Opera House last night
brought forward Wagners DIE Walkore. ana
with It more things Of pith and moment tnah can
be discussed In the last hour or busy Jay Inc
regime which the principles OF performance Tor
which Magnetism stands have introduced makes
a star performer out Of the conductor, and So "
curiosity Is to be satisfied there must be something
at least said OF Herr Schalk's conducting or the
music as we'll as OF Nine Eames's Interpretation
of the part of Siegiinde. Herr DippePs Slegmund
and Herr Van Rooy's Wotan. not TO mention Nine
Nordica's Brdnnhilde. which is not new, but TOO
noble a performa1 10 he passed by without
notice. and the work OF several ~ the young mem
bers OF Mr.. Graus company. who helped 70 give
notable representation Of Wagners drama. Under
the circumstances much must be left 10 the FANCY,
imaglna ton and judgment Of the people. 10 20
drawn by each reader from n generalization which
will doubtless be found be Insignificant long be-
fore the present season OF opera at the Metropol-
itan is over There has been no more convincing
proof Of the fact that need IL creator Of capacity
than is furnished by the history OF Wagners
lyric dramas The time is not long past when
It was the difficult thing In the world 70
find singers who could memorze the words ana
music Of the poet-nuscians dramas. a decade or
two passed and there were singing actors enough
to supply TIE want in a manner; but unhappiy
the manner gave satisfaction only to those en-
thusiasts in whom the admiration for the drama
Itself seemed to have blunted appreciation FOR
sensuous beauty in the musical lnVcSuture'
SO the world endured long period, "hich
Is not yet over, Of good acting. expressive
defamation distinct enunciatlon artistic virtues
all Of them, surely. whether employed IN Beihn'
Verdi Wagner but bad singing. Now, we ha"
learned-ast nights experience enforced the lesson
agan-that It IS possible TO act properly deciaim
eloQuenty. enuncate distinctly and sing we'll not
only TO the greater glory Of Wagner. but also 10
the qualification of the and the delight OF the
Of. bn Lot. NTH untcr nd
affection. Either one OF the artists VINO have been
mentioned might be singled out az shining ex-
emplar Of this truth; but perhaps the most complete
illustration found in Herr Van Rooy, In whose
case musical and dramatic utterance seem 70 lie
so completely merged that there IS no desire in the
listener to difYerenilte between them Moreover he
has a beautiful voice. which he ents without effort.
as II Il responsive TO feeling alone r. in
deed it were the product Of that feeling and de-
pended neither reflection nor Will Whether he
realizes a complete conception OF Wagners char
acter need not be discussed. Perhaps Wagners
IDEAL is not altogether sympathetic TO the OF
the admirers OF the lyric drama to-day To
rdiclie Wotan for his melancholy mood lies near
to all careessly disposed In mind and actor
may perhaps be forgiven II he tries to bring tho
character closer 10 popular sympathy by bringing
Its smaller but human passions into notice.
only those who something more than the story
Of Sicgfried In the Nibeung tetralogy can appre.
ciate the heroic nature OF Wotan's character.
1t Is matter Of congratulation that an artist
Of Nine. Eames's attachments should have added
the role OF Scsllnde 70 her list-a matter of con-
graduation to the public but none the less to the
lady herself This too is a fruit OF Magnetism
Under the old system IL would have been ncon-
ceivabe. just as it would have occurred to a
composer under that system to have lifted what
under the conditions 70 be a secondary part
into a prominence dramatically and unsteady
which makes it the equal OF that assumed by the
I..ix -
no ovelicr role in wagner's drama than that Of
Sieglinde-none which appeal the afec-
tons which give aMpler opportunities for
the exhibition of the qualities Of voice and art
which popular approval rests And so II was a
delight TO hear Nine. Eames voice. with its opu-
lence OF sensuOus charm, in the heart-searching
music and to note that under It's influence she
warmed and mellowed and grew gracious. and
wound herself around the hearts OF her listeners
as she did in the mimic world around the heart
OF Siegmund till even Walhall had no charms tor
him II she were not be there to share them.
She found hero to inspire her warmth IN Herr
DIPPED, whose voice was clear. true and resonant
throughout and who acted with far more power
and conviction as the Volsung than any one WOULD
have thought likely when first ne appeared on the
Metropolitan stage. eight years ago.
To discuss Nine. Nordicas Briinnhilde In all is
details will scarcely be deemed necessary TO those
who heard ner in the part last year Last night.
as then II attested the sincerity and gifts OF the
admired artist by growing steadily with the grown
OF the character. warming with the glow OF pater-
nal affection in the divine daughters heart. and be-
coming broader nobler, fuller. oftier as the prog
ress OF the tragedy carries her further and furtner
from the attitude Of dogmatic divinity and nearer
and nearer to loving. feeling. plying humanity.
Concerning Herr Schak. all that can be said now
is that he made admirable impression by his
mastery Of the orchestra and the ease with which
he held his forces together. At times In the early
parts Of the opera his tempt seemed somewhat slug
gish. probably In obedience to a theory which Is
widely prevalent in Germany just now, and which
cannot be observed without measure OF alarm;
when this is said It must be added that his good
zeal. affection the power OF
command-were disclosed In the fact that, despite
the tempt. ne held all the factors together. and
compelled effective cooperation at all times.