New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-12-21
MUSIC.
SECOND NIGHT OF THE OPERA


The second night Of the opera brought u Nm.
Calv6 and Carmen" The names have bs.r
synonymous in New-York. where. since first th.~
were combined, the former has comprehended Al,
that is contained in the latter That the la,,e,
has not comprehended all that is contained In N.
former Is one Of the reasons that the return Of mt
marvellous artist can be welcomed with soraethtnx
else and more than conventional phrase. Car
men IS Calve, but Calve is more than Carmen: aha
is Marguerite who puts new life into Barber
and Cares parody Of Goethe's heroine and
realizes as no singer has ever done for Us
the ideal which filled the imagination Of Boito:
she Is Santuzza, who were 1t demanded
could make US forget Mascagni and remember
only his Iibrettist; and an Ophelia who can seem
to make the flowers which distraught, she gathers
IN her arms go mad with delight and eager to
die with her And this II Is which makes her H.
turn so welcome. Is It TO be another Carmen"
year? An interesting coincidence In connection
with last nights representation might appear pro-
pitious to singer and manager. 1t was the sixth
anniversary, to the day and hour, OF Nine. Calves
first appearance in the role in America. Very
wildly indeed. must the incident arise in
the memories OF the Metropoltan's patrons.
It was on December 20. 1898, and recolec-
lions OF the Gaditanian dance, which Juvenal
and Martial had condemned many centuries
and some of the habitues of the Midway Plaisancs
at the Worlds Fair had enjoyed few months
before were called up by OF the most daring
performances ever seen at our Opera House 60
vivid indeed her exhibition OF the physical
witcheries which in the story made wreck OF the
honor OF Don jose, that 1t seemed II il might
be necessary to resort for their modification TO
police measures such as were adopted in Paris
when Yalli-Marie's impersonation was censored BY
the Project Of the Seine. and the danse du yentre
was forbidden at the Exposition on the holidays
of the school children. Happily, Nine. Calve dlc
did not persist in her course either because
her own good taste did not commend It, or be-
cause her dramatic instincts. ever OF the alert,
prompted her TO seek the charm with which she
infallibly imbues every character that she under
takes In other directions. But her impersonation
made the season OF 1924 memorable. Garner
was performed twelve times and was witnessed by
at least twelve thousand people.
In the next season Nine. Calye was not a men,
Der of the Metropolitan Company, and though 1t
was sought TO atone for her absence by the intro
duction OF Jean de Reszke and Nine. helba
las Micaela) into the cast, only four per-
formances were found practicable in the sub
scrption season. Then the season Of
,scs.,es the return OF Calve and the house was
crowded for eleven performances OF the opera The
succeeding season was opened by Cave In Car
men" and the opera had seven Representations.
The year OF no opera followed. and last season
Calve though announced, did not come because
OF illness Zeie de Lussan who had given per-
tormances full OF meritorious details In 1875
essayed the part again, with NJ saleza, put TWO
representations OF the opera were all that the man
arement would venture. Hence We see why IN
N.w.yo,k Carmen is all Calve, even II Calye
is not all Carmen" and why there Is POSSIBLE
,,v that this season may be another notable one
in the history OF the opera.
And ia Nine. Calve the Carmen OF old! YES
with variations added TO that innnite variety
which nothing can stale. He would be a rash man
who should undertake 10 set down more thah the
outlines OF this woman's impersonation OF tne
sypsy Of Meilhac and Halevy's play. Nine caves
unconventionality OF performance verges on whim-
sicalness: in a hundred details 1t Is the fruit OF
sudden inspiration That she lifts the physical ee-
ent in the character into prominence Is not 70 Do
wondered at-that springs from the nature OF inc
sasa and her own opulent bodily Deauty-ou'
what is more admirable than ner appear "
the senses in her acting Is the manner III
which she captivates the Imagination Win nef
singing That is as completely unconventional d
are her poses her gestures and her play OF ie'uie
Her song is what song ought TO be In the lyric
drama-that is dramatic speech. with us efhouonn
notency raised to higher power oy music. sn'
couId not sing as she does II she were not aole
e. az, a. she does. The two modes OK expression
ara not merely Complementary Oh each o.H
w. case-they are one in origin and one In AIN
or. .es no, subordinate nature to art, put pfesen
ort v,,alized by nature. And everything sne uoes
h.,r. the stamp OF individuality. For any e'ne'
dramatic singer to attempt the hoertes' 'ne
t.ovar,nces which she INDUCES In when vnin
..I,ss her would be fatal to her performances ou'
An Nine Calves case even imperuhehe pto'0IaONs
=. hsrss,, into the dramatic creation WORK Win
compelling charm $780,, . sovt NJ
AZ saIeza's illness gave NJ. Alvarez sor. "
double entry. from which he profted ricn.y ne :.
= tonor q, heroic and robustuous mould ano y
could have been better for him had ne no' p'
ssntea himself first to metropolitan auaIen~ ~
the sugary. sentimental role OF Romeo n" ~
To.s y,r,le. impassioned in action ana sons' VIC"
soua,oned from an insignificant beginning 10 .
,rag,c end OF crushing power. and almost consl''e
Iv musical throughout. redeemed much Oh hD ~
n.rative failure on Monday. Striking inoeeo vs."
tha contrast between his drastic methods anu 'N'
n,acidity OF NJ. Plancon. who. for the LIE. N
here essayed the part OF the bull hghter AHe
sental record OF the performance Is complete VIC
a tribute is paid to Nine. Eames for he'
Of Mcaea. II would be growing - -
~ II could be made half so lovely and taV.sHA-e
"a were her voice and manner; but though 'ns q
fort has often been made IT has not yet been 'uo'
cessfu