The times., 1899-04-16


the Dutch baritone, has ever been heard
mere before while Nine. Schumann- Helnk's
portraiture and singing of Thursday night
was Just enough to whet curiosity con-
cerning her and TO make music-lovers anx-
ious that her creations in Die walkure''
should equal that in .Lohengrin"
NJ. Van Dyck's Siegmund was the work
OF consummate artist. His tenor is rich
and full. showing mellowness and
depth that compels admiration. The lower
register is especially good. often partak-
ing OF the qualities OF high baritone.
and his upper register free from disagree
able flaws. a certain ampleness of tonai
expression and extreme facility marked
his rendering, which was especially de-
lightful in his execution of the Hymn
TO Spring.. beginning "Wintersturme
wichen;' in the various long passages
given him. in his duets with Siegiinde and
in his dramatic effort at the end of the
second act. From the view point OF the
spectator he was also notable, his imper--
sonation being marked with great force
and strength modified by Intelligent dis
cretion
The opposite role was done. and well
done, by Nine. Lilli Lehman. whose pow
eTful dramatic soprano came out forcefully
and clearly in the difficult numbers which
fell to her. Her voice is of exquisite tim
bre, lacks utterly that shrillness apt to
Ds uOtIctdDlt IN the higher Vi lilt
score, and is without the thinness likely to
follow. In her tones she is able to depict
her emotions in more than usual de-
gree. and this possibility proved of great
value in the drastic climax of the second
act. Here, as In the act preceding. Nine.
Lehman awoke great enthusiasm and was.
with the remainder of the company, called
before the curtain several times.
Much was expected Of the Wotan of
Herr Van Rooy. whose praises have been
cried during the last three months. The
Dutch baritone more than realized these
anticipations, the impression he created
eliminating in a storm of applause after
his picturesque rendering of .Wotan's
Farewell in the last act. Herr Van Rooy's
voice is robust and resonant, full OF in
tensity and virility, and marked by Won
derful sweetness. very large man, he
looks Wotan as few others might, and
acted il extremely we'll. His appearance
last night was in the nature OF triumph.
and his reception will probably not be
soon forgotten. either by himself or By
those who shared in it.
Nine. Schumanu- Heink doubled in the
parts of Fricka and Waltraute without his
trionic diiferentiating, but with vocal ex-
cellence. Her tones were still noble in the
extreme-bread and bell-like and melo-
dious. She sings with ease. but allows her
tones to take meaning that places her in
full sympathy with the composer, her vocal
expression accompanying her acting as his
themes describe the story which they fol-
low. Nine. Schumann Heink's admirable
technique continued to show to advantage.
her wonderful phrasing and breathing call
ing forth unlimited praise. As an imper-
sonation her portraiture of Fricka was
also notable-the effort Of temperament
consummately artistic.
Nine. Marie Brema's Brunnhiide also de-
serves the fullest notice. the portrayal
having been virile and intelligent, while
the very difficult score was sung admirably.
Nine Brema won the house with the open
ing notes of her Cry of the WaIkures'
and never lost it thereafter. Her method
is fauItless and her manner of singing fine
and clear. Nothing but coinmendation can
be given her.
AS is usual with him, David Bisphams
vocal effort IN the role of Hunding was
completely overshadowed by his acting.
Mr.. Bispham shows his Americanism by
evidences of an accomplishment VIII ch mas
never been mastered abroad-the art of
makeup. His Frederick in ..Lohengrin"
was a fine example OF this ability. and his
Hunding was not less so, the black of his
beard and wig being blended dark to his
eyes in manner that gave sinister effect
N
aye in DIR. Belgraff." Few heavy men on
the dramatic stage could have furnished
the impressive, dominating characterize
tion provided by Mr.. Bispham yester-
evening. His voice has taken more bo1y
and depth to itself than it had formerly.
too, and, despite slight nasal quality, his
rendering was notable.
Maud Roudez. Mile. Bauermeister Nine.
Meisslinger Fri. Olga Pevny, Nine. Han
teili, Nine. Molka-Kellogg, and Nine.
Djella were adequate as the Walkures, and
added much to the general ensemble.
In none of Wagner's operas is orchestral
perfection OF greater moment than in die
Walkure." and Herr Schalk's musicians
distinguished themselves last night by car
rying the several motives with distinction
and sympathetic understanding only equal
ed by the singers themselves. The sharp
contrasts of the score were thoroughly
emphasized by this organization and the
powerful dynamic effects were reached
with force and firm directness. Respond
ing to the conductors smallest look or
gesture and playing so perfectly together
that IN passages so utterly at variance
with priorly conceived ideas OF harmony
that the falsity of single note might
have marred the whole, it brought out
strains that suited the ear precisely.
The complicated scenery necessary to
the offering was reproduced adequately II
not sumptuousiy. 1t was hardly to be ex-
pected that the settings would rank with
those used abroad. or even that the heavy
platforms and massive properties utilized
in New York would be carried here But
the staging was complete and carefully de-
tailed. Briefly, there was in the entire pre-
sentation not a single defect worthy of no.
tice. The rendering of die Walkure'' was
one fit fer the ending of the brilliant sea-
son given here.
At the afternoon performance yesterday
the Grau Company was heard in Gounod's S
familiar but eyer-charming Faust" The
audience present was not a particularly
large one. but 1t was decidedly apprecia-
tive. and applauded heartily each of the
more popular numbers in the work In
addition to this token of enthusiasm. Nine
Emma Eames, the Marguerite. compelled
for herself and her portraiture the tribute
of tears from many of the spectators,
while the most genuine signs of admira-
tion were bestowed upon the other mem
bers of what was undoubtedly the greatest
cast ever brought here to present this
effort of the Italian melodst.
Briefly, the entire entertainment was
series of sensations and OF delights. Moth
ing more creditable could be imagined.
AS the artists engaged in giving "Lohen-
grim and La Traviata' on Thursday and
Friday were the best ever brought here for
those compositions. so the principals of the
organization who appeared in Faust" were
beyond criticism. The chorus was also
heard to distinct advantage. while the or
chestra again evinced the qualities that
have made its playing notable during the
brief local season. Altogether the per-
formance was a most satisfactory one
and fully deserved the plaudits allowed il.
Nine Emma EameS was the Marguerite
of the afternoon, and she was nothing short
Z.