Evening star., 1899-04-14
ADJUSTMENTS.
GRAND OPERA HoUsE.-out Of the
niSt of memories of the nerforuanca by the

GRAND OPERA HOUsE.-Out Of the
mist of memories of the performance by the
Grau company Of Wagner's "Lohengrin'
at the Grand Opera House last night comes
the most vivid recollection of one form and
voice. Not Nordica. the peerless lyric So
prano, whose Elsa is the most finished
work of her illustrious career. Not Jean de
Reszke, whose Lohengrin. the Knight of
the White Swan, is the realization of every
ideal of this varied tenor role. Not Edouard
de Reszke. whose kingly Heinrich Is mas
terpiece of vocal and dramatic art.
1t is that of a woman, forceful and COM
manding, with mobile face. flashing eyes,
firmly modelled arms and penetrating voice
Nine. Schumann-Heink, the Ortud, whose
conception of her part amounts to a recre-
alton of 1t.
The others are SURPRISING in their genius
and each occupies his own peculiar niche in
the hearts of music lovers. With the best
they can do to vtvify the harmonies Oh the
masters of music every one is familiar, and
to know that they are to be heard Is to eX-
perience the involuntary thought that every
discriminative demand will be more than
met In their Wagnerian embodiments they
have been unrtvaled hitherto.
But now Nine. Schumann-Heink presses
forward, her splendid art claiming for her
place with the other immortals of music.
That 1T has been granted her, and that she
has Kingdom and followers of her own,
was evident after her luminous portrayal
of Ortrud's invocation. 1t is true that close
students of music and observers of affairs
operate have heard the echoes of her sue
cess at the Metropolitan In the metropolis,
and awaited her coming with the sharpened
intelligence that creates its own standards
and models its own opinions. Washington
was ready to ennoble her If she proved
worthy, but not because New York already
had wreathed her brow. Her Ortrud is the
newest limit in that role, and her next ap-
pearance on Saturday night in Die Walk
ure' excites the widest interest and Keen
est anticipation of pleasure.
Nordfca and the De Reszkes, the 'Iohen-
grin tr1umvirate were last heard at the
same opera house several years ago. Now
as then, they are the masters Of their roles
and leave nothing to be desired. They seem
to exhaust the possibilities Of human en-
deavor, generally speaking, in the charac-
tiers they invest. Nordica's voice has uncer-
tain qualities that are at times apparent,
power and pathos she radiates as Elsa, and
last night she was at her best in every re-
spect. Jean. de Reszke, though approach
ing the self-set limit Of his operatic career,
than last night. The mellowing Influences
OF time have given his tones a timbre, a
sweetness, that Is almost indescribable, and
ms enunciation evidences the perfection of
ms method. His physical proportions are
those the fancy gives the mystic mate of
Elsa.
David Bispham's Telramund, forgetting
Its nasal quality occasionally. was most ar
n,
larly in the second act, is worthy of high
praise. Mr.. PRINCE as the herald per-
formed the task allotted to him in good
taste and exhibited a voice of excellent
quailty, which he handles with discretion.
Although '.Lohengrin' is a German opera
written by the master Of music in that ma
ton, and sung in German, it is rather re-
niarkabie that but one of the notable cast
Just mentioned is of that nationality. Nor
d1ca and Bispham are Americans Pringle
is an Australian, while the De Reszkes are
Poles Schumann-Heink alone is German
born. And yet the others were thoroughly
lmoued with the Teutonic atmosphere, and
proved in their work that art knows no ma
Ionality.
The audience was notable both for it's
size and for its distinctive character If
embraced those Of the fashionable world
VINO filled the seats on the lower floor and
those who love music, who occupied not
only the seats but every bit of the standing
room in the balcony and gallery. 1t was am
enthusiastic but discriminating gathering.
Applause was abundant, but never mis-
placed, and the curtain calls at the end of
each act were SO numerous that one got
tired of counting them. The most remark
able demonstration was at the end of the
third act, when Mime. Nordica and John de
ResZke Were recalled again and again and
We're petted with flowers while the men
Shouted bravo. 1t was not only a tribute to
their art manifested in the duet which
closed the act, but also to the personal re-
Sard telt for the two artists. The ovation
was DIS Spontaneous as II was sincere.
The orchestra, under the control of Con-
ductor Schalk, deserves high praise for its
excellent work. Although enjoyment of the
beautiful overture was marred by the ar
rival of late comers, afterward it's perfect
playing, its expressive phrasing and its
thorough accompaniment to the singers
We're delightful. Conductor Schalk held his
forces down SO that at no time did they in
terfere with the singers, and yet the full
beauty of the orchestral score was properly
brought out. The chorus was also adequate
and performed its task in good form
Altogether 1t was the most notable per-
formance of 'Lohengrin'' ever given in this
city, and one that could not be surpassed
IT is an earnest of what may be expected
from the operas that are to follow, and if
they all go through according to schedule
this public will rise up and bless Mr. Grau
Tor bringing his great organization here
Tonight La Traviata' will be sung It
was expected that Mime. Sembrich would
sing Violetta, but. owing to a cold, she will
not be able to appear. Nine. Lillian Nor
dica will sustain the role supported by
Salignac and Campanari.