New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-01-08
MUSIC.
TRISTAN UND ISOLDE"

Of Tristan und Isolde at the Metropolitan Opera
House yesterday afternoon that II was easy to i'm
asine ones self back to the memorable season Of
| 1857. when Wagner's stupendous love-drama was
first given In America performed eight times In
| seven weeks. and proved TO be far and away the
most popular work in the Metropolitan list. The H.
/, fusion was helped by the fact that the Isolde OF
yesterday was the Isolde of twelve years ago: but
that circumstance did not provide the whole ex-
plantation There have been notable representations
! OF the drama since, and less than two years ago
| Nine. Lehman appeared in the part OF the heroine
on the very stage which she glorifed In December.
| 1856 and yesterday What was it then that caused
five thousand people to bde in the opsrahouse four
hours and half. to hang every word and note
with breathless interest as II they were revelations
on which depended everlasting things. and to Ill
the pauses between the acts with tumults of APP
| pause?
Briefly put. It this: Notwithstanding the
wonderful first performances which gave Tristan
| mpershable lustre In this country: notwithstanding
the memorable representations Of 1863 which de-
! termned the future history OF the Metropolitan
Opera House. the representations which remodelled
| the character of the performances In Covent Gar
| den, London. we'll Notwithstanding the last rep
| reservations In which Nine. Lehman figured IN
! the spring OF 1896: notwithstanding the fragrant
| memories which the original Tristan In America
| the first American Marke and even the hrst
Kurwenal left behind them. the representation OF
yesterday marked the highest level that has been
|
| made on a basis OF the cooperation OF all the
| factors and elements enlisted. With her who has
always been NETWORKS IDEAL Isolde was associaten
| a Tristan who. while approximating the histrionc
stature OF his most famous predecessor. the great
| Niemann informed the music with sensuous
| charm, that was as far from the ideal as 1t was
from the capacity OF that predecessor To these
was added a Kurwenal who was in all things their
| peer a Brangane whom we have known TOT three
| years and who has grown In our respect aomira-
ton. love with her every appearance, ana MING
Mark who has not harmed the IoVeNest uaui''o"'
concerned with the character.
Let their proper names be set down here so that
the record may he read when hereafter some one
shall live the pleasures OF the afternoon IN MS
memory and pick up the yellowed paper as help
Ldli Lehman Jean de Reszke. Anton van Rooy
to whom We must recur for q word Of special com
mcnt for he was new the local public In the
part Of Tristan's squirrel Marie Brema ana Edouaru
de Reszke. Would you know the significance OF
such a list? Try to match It in the roster OF any
opera house in the world except the London estao-
Ilshment Of Mr Grau 1--WE fancy there Is no danger
Of n change Of management at Covent Garden)
compare t. with the lists at Bayreuth-tne exercise
will help to appreciation OF the extraordinary
benefactons which are showering upon the people
of New-York this season.
1t Is only eight days since the old tributes to the
gifts and arts Of NJ Jean de Reszke were recalled
and added TO in The Tribune. Why add TO them
again? What can It profit writer TO measure MS
utterances by the inch in order that thereafter ne
may boast II have multiplied visions and used
smilitudes?' As to Nine Lehman. her Isolde
like her Brunnhde. has been ever present In the
memory. fancy heart OF NETWORKS Wagner low
ers since the season of 1865. II Is seldom given
to a public observe complete Devotion OF an
artist to her task she exemphed yesterday
From her first note to her last she abandoned her-
self without reservation to publication OF the
contents Of the character. And in her study she
has grounded It, She has grasped the whole OF It's
passionate intensity and In degree that Is never
so manifest in her work In this drama she as
closes the wealth Of musical, vocal and hstronlc
gifts which qualify her to body forth the passions
OF Wagner's heroines. She proves. as all her CO.
adjuors OF Importance also proved yesterday, that
Wagners music can be sung beautifully In spite of
the fact that 1t not written merely for the
exhibition Of sensuous beauty OF tone. VINO Will
forget how Nine. Brema's voice burdened the night
air with eloquent loneliness In the garden scene
thrse years ago. and again yesterday. when she
showed her devotion to Wagner by singing part
for which she had not been announced, though to
do so REQUIRED her to be at rehearsal an hour
after she had ended voyage from Europe?
new revelation Of the capabilities which lie In
the part of Kurwenal given by Mr.. Van Rooy.
There are many who remember with undisguised
Meas the perform ances Of the original Kur-
wenal in New-York. Adolf Robinson Despite It's
melodra mat tic character. that representation mace
n profound impression because or the marvellous
tenf lONdDleneSS
1Jerr Robinsons extravagances could rob It, Still.
wItb every really capable performer in the part
who has been seen since. the memory or an
Incident at the last rehearsal before the nrst per-
Torrance Of the drama. In 1886, comes 10 mind'
Some of 1t is a little drastic. but 1t may be par
doned for the sake Of the lesson 1t enforces. IL
will be remembered that Of the strongest feat
,re. ~ Herr Niemanns impersonation OF Tristan
Was the intensity OF his acting In moments when
he remained motionless. The effect was produced
by facial expression and tone color. Naturally 10
such a man Il more than annoying 10 nave d
souire who In the death scene was continually
taking himself out of the picture and trying 10
draw the attention Of the audience upon himself
FINALLY Nemann took advantage Of a pause In the
music 10 address few observations 10 MS COL
league My dear Robinson" said he IN erect
You seem to be laboring under a mistaken I'M |
preston. Though you do not seem 70 kho" IT,
Tristan has little bit 10 say In this scene; he's
M, altogether nconsequential. Wagner probably |
intended that fact TO penetrate the minds OF the
snectators and listeners: but how am to bring
that to pass when you are perpetuay gesticulating
in front OF the footlights? II you keep on. there
will be but one way In which can make an erect. |
which will be to get up and throw my boots INTO |
the audience But I'm dying Of wound and |
hound to my bed. Now. be a good Fellow ana stay |
q, nv bedside like a kind nurse NO such speech
wa. required OF Herr Van Rooy. All the gentle
devotion and fidelity OF the most tender-hearted
woman was expressed In his face, his conduct MS
nords and his music. His the most perfect |
illustration OF wagners blending OF speech ana |
song that the representation AFFORDED; ana IN
deed It is questionable whether its equal has been
heard since the paimy days OF Scaria HIS voice
and NJ Edouard de Reszke's were the only ones
,,h,ch the orchestra never covered and It not |
always because Of It's superb sorority; defamation
and tone-emisson- good singing-had much TO do
with It.
n