New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1900-03-13
MUSICAL COMMENT.
DOINGs AT THE OPERA-AT SOME DIS
LANCE BEHIND SHAKESPEARE
NINE. sEMBRIcHs LONG
PROGRAMME.
PROGRAMME.

PROGRAMME.
There was n change OF opera at the Metropolitan
Opera House last night the first change of the kind
for a considerable space. Mr.. Van Dyck was again
under the weather. and the projected performance
of Tristan und Isolde could not be given MT
Van Dyck's vocal cords have been decidedly
erratc all season. and an attempt on his part 20
sing the music of wagner's great love tragedy
when in poor condition could not be contemplated
with composure. He had done well. remarkably
well. once but under the best Of circumstances the
audience would have gathered together last night
for a second Tristan with a weight OF apprehen-
sion their souls. When word was received that
he indisposed there considerable consterna-
ton among the Metropolitan managers. for a
representation OF Faust had been promised in
Brooklyn and though the Celtic warriors of Tristan
might easily have reached Brooklyn In time to
metamOrphose themselves into Medieval German
soldiery after landing in Cornwall. the problem or
simultaneous performances OF two operas under
a change when Tristan ind Isolde had TO
be withdrawn. The decision reached, however.
to risk performance of Der Fliegende Hollander'
with half chorus and let the Brooklyn perform
ance take its course with the other contingent. So
Der F1egende Hoander put In the
place of Tristan ind Isolde and all proper pains
taken to inform the public of the fact. The sub
stituted opera heard by a relatively small
gathering. but heard respectfully. and ample trib
ute paid to its good features summed up In the
Senta of Fraulen Ternina. admirable. most adj
mirable; in everything the Mary of Schumann-
Heink. Erik OF Mr.. Dtpple. and Dutchman OF Herr
Bertram 1t was not possible for the close OBJ
server to overlook the fact that the performance
In some details had been hastily prepared for
certainty and indecision marked 1t in many places.
and the feeling of encouragement inspired by the
change was never dissipated
great deal of gossip and speculation is already
current about the effect which the disappointments
which Mr.. Graus subscribers have undergone this
season are likely to have upon next years pros
poets Much of this is based. of course. upon
gratu1tous assumptions concerning the constitu-
ton OF next seasons company. on which point
make bold to say that neither Mr.. Grau nor the
singers themseves-least Of all the ready gossips-
are yet in position to speak. There Is question
however. that the of work. as
unnatural and unwise IT Is vast. has had
thing to do with the slipshod performances which
have been given. Last night not the first time
in which the company has been divided and
performances given in different places at the same
time Philadelphia and New-York have enjoyed
representations simultaneously, and even when
the company has been divided its efficiency
has been Slapped by wearisome midnight Journeys
to and from Philadelphia. This too, has prevented
proper preparation and rehearsal and consequently
the abandonment CT plans which promised TO give
the only new elements of interest offered in the
preliminary announcements. We hear nothing
more of the series of Mozart's operas, though we
believe there Is still prospect that Die
Zauberh0te'-or rather I'll F1auto Magico''-wfl be
given before the end OF the season. 1t may be
also that this general condition irrational haste
and the consequent want of earnestness and
care, prevented the success Of a work which
under good conditions ought to have won a
permanent place IN the Metropolitan repertory
The reference Is Nicolai's Merry Wives of
Windsor''-by all the happiest as it has
proved itself to be the longest lived of all
Shakespearian operas But what can a manage
ment expect of a ballet scene when its central
figure is Falstaff behaving in a way 10 give the lie
TO all the Incidents built upon 1t? Let Mime. Sem
brich sing her loveiest and act, she can and did
like the most bewitching of condolences: let Nine
Schumann-H eink prove herself be as good an
'Old woman technically speaking as the German
stage can show to-day-not the opera stage merely
what shall that avail II there be a Falstafr with
out spark Of humor. and If the ballet scene built
up the theory that Falstar lies upon the ground
and endures the torments of the supposed fairies
because he believes that "he that speaks TO them
shall die stands up like log on end and shows
not the slightest interest in the goings on? A
myriad of ffrefies though they were big as turkeys
would not the opera.
Nine. Sembrichs song recital in Carnegie Hall
this afternoon offers liberal education in the his
tory of song composition we'll as in singing Her
scheme is quite extraordinary and would of Itself
invite remark for the scope and variety of its
tents even If less extraordinary singer were to
attempt its exposition She will illustrate CEN
turtles of composition and the styles OF several
schools. beginning with the English when it glored
IN its Purcell and ending with the continental
schools OF to-day. Gifted with truly Polish
mand OF languages Nine Sembrich will sing ALL
of the songs in the language in which they were
conceived italian. French. English. German Rus
sian and Polish The German songs excepted
moreover. there is nothing hackneyed about Nine
Sembrch's selections and some of them are pecuI-
arly interesting from historical point of view
There is for instance, the first number on the
programme, Per la gloria d'adoravi." by Giovanni
Battista Buouoncini 1t is from opera "Griselda'
brought forward in London in I721, which takes
rank the finest of It's composers works and had
enough success to give unhappy hours to Handel or
at least to his friends. The story told the opera
is that of the patient Grizel' the model of
patience humility and wifely obedience whose
pathetic and obviously absurd story used to open
the lachrymal hoodgates of great-great-great-
grandparents the civilized world over Teuestno
sang in the opera. also did Anastasia Robinson,
and Burney tells US that 1t was in the character OF
Griselda that the prima donna completed the con-
quest of Lord Peterborough. who married her
after he had caned the musico for an affront
offered to her behind the scenes Nevertheless IL
was Buononcinis music that made the opera
a success. for the lbretto. written by hearty
hater of Handel called Roll. is said have been
uncommonly bad for even that day OF bad lbrettos
In The Freeholders Journal for March a. 1722
you may read
Cast from her kingdom from her lord exiled
Giriselda still was lambli<e. mute and mild.
But ROLLS PROVOKED the saint to roar
She rav'd she madd'ned. and her Primers tore
Till BonOncin smoOth'd the rugged
And sanctifyd the miserable scenes
1t the quarrel between the composer of
"Grlselda' and Handel. which reached it's cul-
mnation decade later. which gave rise 10 the
famous epigram that used TO be attributed to
Swift Of whom, indeed. it is quite worthy but
which was. in fact written by John Byron:
Some say. compar'd TO Buonononcini
Ihat Mynheer Handlers but ninny;