The times. [volume] (Washington [D.C.]) 1897-1901, 1899-01-29
MASCAGNI THEN AND NOW.
His Appearance at the Production of
..friS''-How He Works


CFrom the Pail Mall Gazettc)
Mascagm's new opera. Iris" has now
been given TO the world for better or for
worse" but whether the composer has ad
ded to or taken away from his reputation
II is somewhat early to decide. The ef-
feet on the Roman public, judging from
the impressions of the large audience
present at the great rehearsal. has been
complex. but the "Cavalleria Rusticana"
remains the capolayoro.
What changes a few years can make.
Iris is given eight years after, in the
same large Costanzi Theatre. where. on
the memorable evening OF May II. $780,
"Cavalleria Rusticana" was represented
for the first time. But what a difference
Then the theatre was half empty; now it
oyerilows, not one seat being vacant: then
only few scrupulous critics thought it
their duty 10 be present. now the elite of
the city, and mobiles, writer's. critics. COM
posers have come not only from all parts
OF Italy. but from abroad; then to attract
people prices were lowered to rs for the
stalls and Ell for the boxes: now the
former cost about G2 and the latter eos.
Eight years ago the composer 4 clean
shaver, nervous young man, totally un-
known. stood in the wings alone. pale as
death. not thinking so much OF glory as
OF what depended on his gaining the prize
Il
thread. The overture began, people turn
ed, slightly started, toward the stage, at
tention became fixed. changing rapidly
from pleasure to enthusiasm, TO rapture,
to an ovation, seldom seen in a Roman
theatre. That night Mascagni leaped into
fame at one bound. Today the eyes of the
whole musical world are centred on the
maestro, for he himself, in the midst OF
one OF the most brilliant and select as
nrtrIt lies
radiant as on throne, leads the orchestra.
When the rehearsals of "Cavalleria Rus
ticana" were going on Mascagni used TO
sit mute in stall, not venturing to make
the smallest suggestion. One day, turn
ing to faithful friend, he whispered.
grinding his teeth, Il would have played
that bar very differently, but il l open my
mouth the director will eat me alive" and
the correction went unmade.
For the production of Iris Professor
Mascheroni, the best-known conductor in
Italy, had been chosen to lead the orches-
ira. To leave him free hand the maestro
left Rome, and returned only when the
general rehearsals began. After listening
| once only he went direct to Professor Mas
cheroni and said: Il am very sorry. but
you really have totally mistaken my mu-
Sic. Whereupon the director took up his
| hat. thus giving the public the additional
| pleasure OF listening to Iris conducted
! by the composer himself
| As have noted before, Mascagni's great
est passion and delight are to conduct an
orchestra, for which he himself says he
has natural talent. But what is more
interesting is to watch Mascagni compos-
| ing his works. His wife. Signora Lima
Mimi. his eldest boy; Dino. another son,
and Emilia, his little daughter-all have
| their parts in it. When the maestro is
! feverishly writing notes, and rushing to
the piano to catch an inspiration, his wife
| follows him to and fro, while the child
rem climb on his knees he unconsciously
running his fingers through their curls. As
! soon as he has fixed on a melody he gath
ers the children in his arms ami they all
! roll Unfortunately on the floor. the
shouts. the bumps, laughter. tears, making
such an uproar that at last Signora Mas
cagni interferes, scolding her husband and
| telling him that a grave musician should
! give better example 10 his family. She
bundles away the children and he returns
| to his desk; but few minutes later the
scene repeats itself.
Msscagni himself says of his new opera:
In writing Iris | have always had in
mind the principle OF being judged. not
by the drama, but by the music. Music
| should not be an arid comment on the
drama, it should be the drama itself the
story in its memorable development. In
| Iris | wished for this reason to reiuYig-
crate the melodramatic opera to maintain
| the equilibrium between the voices and
! the orchestra. In it there is much music
1t have not contented myself with two or
| three ideals turned round every way. re-
peated, reproduced and enriched, because
| one cannot disguise the fact that they are
! always the same; l have instead searched
| for melody. Searched is only way oil
expressing it. as, If do not feel the in
! spiration suddenly. | wait for it 10 come.
! The tenor serenade in the first act came
/ instantly, quite Unexpectedly. and | have
used 1t without changing one note. l wish
/ in my music to be. above all. sincere. l
should like Iris TO be judged as a work
| of art, serenely conceived, written accord
| ing to my criterions, with ideas which
have germinated in my own fancy"
| Nevertheless. the other evening at a
preliminary rehearsal of Iris" in an ante
room of the Costanzi Theatre the maestro
| turned to a friend. saying in a moved
voice: Il should be prepared TO renounce
all my works with the exception OF Rat
| cliff 1t will never be popular with the
public. but if something of mine remains
in music, it will be some scene from Rat
cliff" This is the masters own iudg-
ment OF his work.