New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-01-22
MASCAGNI THEN AND NOW.
HIS APPEARANCE AT THE PRODUCTION OF
'IRIs"-HOW HE WORKS.

Rome correspondence of The Pail Mall Gazette.
Mascagni's new opera Iris" has now been
given 10 the world for better or for worse, nut
whether the composer has added to or taken
away from his reputation II is somewhat early
10 decide The effect on the Roman pubic
judging from the impressions OF the large audi
ence present at the great rehearsal; mas oeen
complex, but the "CaYalleria Rustlcana re-
mains the capoavoro.
What changes few years can make! lris
is given eight years after. In the same Iarge
Costanzi Theatre. where, on the memorable
evening Of May Il. 1890 "Cavaeria Rustcana
was represented for the first time. But what a
difference, Then the theatre was half empty
now il overiows. not one seat being vacant;
then only a few scrupuous critics thought II
their duty to be present, now the elite or the
city. and mobiles. writer's. critics. composers
have come not only from all parts Of Italy. but
from abroad: then to attract people prices were
lowered 20 rs for the stalls and II for the
boxes. now the former cost about Il and the
latter f2o.
Eight years ago the composer. a clean shaver,
nervous young man, totally unknown, stood In
the wings alone. pale as death, not thinking so
much OF glory as Of what depended on MS gain
ing the prize-wife. child, home. these hung on
a thread The overture began, people turned
slightly started toward the stage attention De-
came fixed changing rapidly from pleasure 10
enthusiasm, to rapture. TO an ovation. seldom
seen in a Roman theatre. That night MascaghI
leaped into fame at one bound. Today the eyes
Of the whole musical world are cehueu on ~ y,
maestro for ne himself in the midst or ons OF
the most brilliant and select Of assemblies IN
the chair Of the conductor, radiant as on
throne leads the orchestra.
When the rehearsals Of "Cavallerla husu-
cana" we're going on Mascagni used TO sit mute
in a stall not venturing 70 make the stna.leSt
suggestion one day, turning 20 a falthful
friend he whispered grinding MS teeth
would have PLAYED that bar very differently,
but II ] open my mouth the director VIII eat
me- alive" and the correction went unmade'
For the production Of Iris" Professor Masche-
roni. the best known conductor in Italy had
been chosen to lead the orchestra To leave MIN
a free hand the maestro left Rome. ana re-
turned only when the general rehearsas began.
After listening once only he went direct to FRO
lessor Nlascheron! and raid; II am very sorry
but you really have totally mistaken my mu-
sic Whereupon the director took up his nat.
thus giving the public the additional pleasure
OF listening 10 Iris conducted by the com
poser himself.
As have noted before. Mascagnis greatest
passion and delight are TO conduct an orchestra
for which he himself says he has a natural Ia
ent But what is more interesting Is TO watch
Mascagn composing his works His VIE sig
nora Lima. Mimi. his eldest boy DINO another
son and Emilia his little daughter-all have
their parts I'm IT, When the maestro Is feVer-
ishly writing notes. and rushing 10 the piano
70 catch an inspiration, his wife Follows MIN
TO and fro. while the children climb on his
knees he unconsciOusly running his fingers
through their curls As soon as he has hXed
on a melody he gathers the children in his arms
and they all roll Unfortunately on the floor
the shouts. the bumps. laughter. tears. making
such an up~oar that at last SiCnorina Mascagnl
interferes scolding her husband and telling him
that grave musician should give better eX-
annie 10 his family She bundles away the
children and he returns 20 his desk; but a rev
minutes later the scene repeats itself
Mascagni himself says Of his new opera: In
writing Iris I have always had In mind the
principle Of being judged not by the drama
bur 10y the music Music should not he an arid
comment on the drama. 1t should be the drama
itself tho story in its memorable development
In Iris wished FOR this 70 relnvigorat e
tho n1eIo-dramatic opera 10 maintain the equi-
Nhriun1 between the voices and the orchestra
IN IL there is much music have not content
ID myself with two or three ideals turned round
overt way. repeated reproduced and enriched
because one cannot disguise the fact that they
are always the same have instead searched
Cor melody. Searched Is only way Of express
ing it, as II do not feel the inspiration sud
/ denly wait for r. 10 come. The tenor serenade
I'm the first act came instantly. quite uneXpect-
odlv and ] have used 90 without changing one
note wish I'm my music TO be above all sin
core ] should like Iris 20 be Judged a work
~ art. sereuely conceived written according u
ms critorions, with IDEAS which have germinat-
rd i'm my own fancy"
Nevertheless. the other evening az prelim-
mary rehearsal Of Iris I'm an antc-rOOm Of the
Costanzi Theatre the maestro turned 10 a
friend. SAYING I'm a moved voice. Il should be
prepared 20 renouuce all my works with the
exception m 'Ratclin II VIII never be popular
with the public but n something 81 mine re-
mains In music II will be some scene from
'Ratclif " This is the masters own judgment
~ his work