New-York tribune., 1900-04-15

To facilitate study on the part of those histori-
cally and critically inclined. append to this list
a bit Of analysis. The number OF operas given was
thirty. Nine of these were by Wagner. and they
had 81 performances exactly one-thrd of the total
number OF representation classified by the ma
tionaty of the composers, there were Germans
represented by Il operas and 81 performances; 5
italians, with operas and q performances, and
4 Frenchrnen. with operas and 80 performances
Ali Of the operas except Mozarts Magic Flute"
performed in the language in which they
written; Meyerbeer's being in French the
totals are: German performances, 36 Italian
&C. and French 30. OF the SO German representa-
tions. "a were devoted TO Wagner. 1t will be seen
therefore, that Mr. Grau has come back TO some
thing like the repertory it stood in the days
Of the German regime the Metropolitan In the
double bills" Mascagns "Cavalleria Rusticana"
was consorted twice with Donizettis Don Pas
quale" and each with Lucia di Iammer-
moor" Il Pagliacci" and I'll Trovatore" At the
Saturday night performances at popular prices
'Lohengrin,' 'Trovatore," ''Cavalleria" and
"Tannhauser'' given twice. and "Mignon
Romeo ct Juliette." 81 Pagliacci," Faust The
Flying Dutchman.': ''Traviata" Aida" "Rigo-
letto." Les Huguenots,' The Barber" and lie
Nozz di Figaro once each. Nine. Sembrlch sang
IN y operas. Nine. Nordica also in r. Nine Schu-
mann-Heink in 10. Nine. Eames In 8, Fraulein Ter
nina in 6. Nine. Gadsd in and Nine CaIve in g.
But Nine. Calve with her three roles. sang nine
teen times. for II a Carmen" year, as The
Tribune opined it would be at Nine Calves first
performance. in December, which was, 10 the day
and hour the sixth anniversary OF her first ap-
pearance in the part in New-York. All other In
dividuaI records. however. were surpassed by that
OF Mr.. Dippel. who has sung thrty-three times in
New-York this season, in fifteen operas
The farewell performance of grand opera will
be given at the Metropolitan Opera House on
"Wednesday evening. April 25. when all the artists
of the company Will make their last appearance in
America previous TO their departure for Europe in
the following programme: Act II. I'll Flauto
Magico." with Mines. Sembrich Susan Strong
Suzanne Adams Zelie de Lussan Mantelu Otzka
Carrie Bridewell, Broadfoot and Emma Eames and
MN Dippel. Campanar, Pini-Corsi Muhlman
Dufriche. Vanni. Meux, Maestr and Plancon; con-
ductor. Signor Bevignani. Act II. Carmen" with
Mines. Emma Calve. Bauermeister, Van Cauteren
and NM. Saiignac. Meux. Bars. Dufriche Queyla
and Scott; conductor Signor Bevgnani Act H.
Tristan und Isolde" with Mines. Nordica and
Schumann- Heink and NM. Van Dyck Bertram
Pringle. Meux, Bars and Edouard de Reszke; con-
duetor. Herr Emil Paur. Regular prices will pre-
vail for this performance and the sale seats and
boxes viii commence on Thursday morning April ls
A letter TO the Editor OF The Tribune asks for
Information "as to just what the word ragtfrne'
means, and the origin Of IT," The question looks
simple, and ought be easily answered; but IL
isn't "Ragtime' is a rhythm which is the most
characteristic feature of what may be called Amer
lean negro music. It's foundation is the effect
which results from the division of the accented
part of a measure into two notes of which the
first is the shorter. sixteenth and dotted eighth
in common time. for instance The result is pe-
culiarly propulsve and stirring, and the fondness
of the negro for IL is doubtless due the strong
yhythmical sense which IS innate with him. II is
possible, also, that II is product OF African
languages this being a reasonable deduction by
analogy from the fact that similar effect. which