New-York tribune., 1900-09-23

company last October. Before her experience with
this company she had been a useful memoer OF
several oueretta companies singing in Ermine
at the Casino with Miss Lillian Russell in La
Cigale" with Miss Tempest in Tine Fencing Mas
ter" with De Wolf Hopper and with the company
that produced Brian Boru" at the Broadway
Theatre. Her parents were stage folk. and she
was born in New-Harmony. Ind
Miss Louise Meisslinger who born in Vienna
and educated in Paris, has been known TO New
Workers since the German season or 1857 Oh
al the Metropolitan Opera House. She effected her
American debut on November q. 1887, as Brangane,
in Tristan Isolde" and was recognized AT
once as an earnest and serviceable artist since
then she has sung with the Metropolitan and other
companies including the Emma Juch English
Opera Company and Sir Augustus Harris's
English company that produced ''Hansel and
GreteT' al Days Theatre under Mr. Seidfs direc-
ton. She member of the Covent Garden
company for six seasons.
Mr. Homer Lind has been a member of Mr.
Savage's company for TWO seasons. He was born
in Alexandria. Va. completed his musical studies
in Frankfort Germany, ard began his operate
career in 1885 at Liverpool England, in Goring
Thomas's "Esmerada," which IS to be the first
novelty in the English season at the Metropolitan
Opera House Mr.. Lemprlere Pringle, who has
been a member Of Mr.. Grau's company for two
years halls originally from the Autipodes-he IS a
native Of Hobart Town Tasmania where he was
born in 1863 His last teacher was Stockhausen,
at Frankfort-on- the Main. Before Joining the
Covent Garden forces he was for five years a
member of the Carl Rosa Opera Company. He
has sung with Nine Albani in concerts in Canada.
Mr.. William Paul IS a Cornishman, whose mother
was concert singer in her day. He studied sing
ing with Walter Austin brother Of the English poet
laureate, Alfred Austin. and effected his entrance
the concert stage at performance of Sullivan's
Golden Legend" at the Royal Albert Hall, under
the direction of the late Sir Joseph Barnby. He
then joined the Carl Rosa Opera Company and
appeared for the first time in opera Capulet in
Gounod's Romeo and Juliet He remained in the
company three years, singing in Lucia Faust
"Tannhauser' "I-ohengrn,'' Carmen II Trova-
tore" The Bohemian Girl" Der Freischitz,"
La Boheme' and The Marriage of Figaro"
new edition of Mozarts Don Giovanni" in
vocal score has appeared in &C Schirmer's Col
lection of Operas" 1t is a beautiful specimen OF
printing and binding and contains besides what s
generally found in operate vocal the
and music of the recitatives. the English text
as translated by Natalie Macfarren, a portrait Of
the composer and a predatory essay the opera
by Mr. Krehbiel This essay discusses the story of
the Hbretto and the composition, the sources of
Da Ponte's work. the first performances in Prague,
Vienna. London and New-YOrk with casts). and
ends with estimate Of the status of the opera
the end of 112 years after its composition. From
this estimate II would appear that in the active
American list Don Giovanni has only
seniors Mozart's ''Nozze di Figaro and Gluck's
''Orfeo.' Even IN Europe, when influences besides
popular liking keep operas alive, scarcely half a
dozen older than it can yet be heard. Speaking of
the attitude of great composers toward IT, Mr..
Krehbiel says:
he end of 10 the he @ sg@tqy d T D9n
fact, it meets less prejudice in the popular and
critical mind now than il did hundred years ago
The revolution accomplished by Wagner has left
it practically untouched, far appreciation of
its beauties goes and II is stil point Of vantage
directions. only in Prague did 1t achieve instan-
opera) greater triumph when first brought
forward. But no work has kept pace with it in
the admiration Of the great ones In art Under its
influence Goethe wrote to Schiller that Mozart
ter to the poet of Faust wrote that he had Ger
tain confidence IN the operate form belief that
through 1t tragedy might develop into a nobler
form Than that existing as it had been developed
a1e ei eeth m .e hdcGaG res
served realization In high degree OF the hopes
seem Don JuSn but this work u ae Completely
nd ana all all Pr9sPeet Of s3meth3g else of its
that Beethoven kept transcript OF the trombone
Ing desk as he did the Egyptian inscription.
Shortly after Nine. ~. Viardot-Garcia ACQUIRED the
upon her and asked the privilege of inspecting II,
sacred relic After pouring over a few pages Of
the, score he placed his hand on Mozarts writing
| master of them all; the only composer who had as
MUS as he had science on another % OCCASION he
said: ''Vous youlez connaitre celui de mes ouv-
| Giovanni. " Gounod celebrated the centenary of
| the opera py writing a commentary on the work,
which he characterized in the preface OF his book
as IAN unequalled and immortal masterpiece" the
| "apogee OF the lyrical drama" "wondrous ex-
ample OF truth beauty of form. appropriateness OF
characterizaton. deep insight into the drama.
purity of style, richness and restraint in instru-
| mentation. charm and tenderness in the love
| passages and power in pathos-n word this
| finished model OF dramatic music" adding: THE
score OF Don Giovanni has exercised the Influence
| of revelation upon the whole of my life: N has
| been and remains for me kind of Incarnation of
dramatic and musical impeccabity. / regard n
as a work without blemish Of uninterrupted per-
/ lection and this commentary is but the humblest
1 and linda for tkaa
genius to whom owe the purest and most per-
| Mr.. Sam Franko has arranged for three matinees
l by the American Symphony TO be gwen this season