The Saint Paul globe., 1900-03-28
MUSIC AND THE STAGE.
WAGNER TRmoGY

Ihe croWning event Of the musical sea-
son of st. Paul thus far took place last
evening at the Peoples church, wherein
bursts OF song and tone. the art works
and masterpieces OF Richard Wagner.
We're ideally. dramatically and wonder
fully interpreted by a trio of stars one
of Whom would interest an audience in
solo or recital alone In this tristan COM
Dtnatlon three world famed Wagnerian
disciples In the persons of Nine. Gadski,
as prima donna; David Bispham, bari
tone, and Walter Damrosch, pianist, re-
lated in tone and word pictures the "Ni-
belungen Ring" including in the title
Ithelngold, "WalkGre,' 'Siegfried' and
'Gotterdaemmerung."
During the powerful dramatic story re-
lated by Mr.. Damrosch at the piano the
music went on like an ocean, or q vast
r4Ver-now smooth, now rough, now quiet,
now stormy, how Sunshiny now somber
always powerful In the mental sense al
ways full of leading motives and passion
from the different parts OF the work No
such orchestral piano Accompaniment
other than to dramatic action has been
heard In St Paul since the German opera
season. given by Mr.. Damrosch and his
orchestra four years ago The pro-
gramme opened with ''Das Rheingold,"
with Mr. Damrosch illustrating at the
piano. and 1T Is due to his ingenuity that
the POLITICALLY constructed and artistfcaI-
ly arranged programme is given to the
public. AT the close of the Rheingold
discourse, David Bispham made his ell
trance in the Curse" solo, which served
TO re1ntroduce to st. Paul audiences the
baritone Of baritOnes, who counts his
greatest success in his famous song re-
c1tals and English ballads. In these, and
IN MS Famous hailade interpretations his
friends know and admire him most
In r. hn Ill,
Gadski, who, although not surrounded
by the glamor and elaborate stage set
tings of the Walkure, gave a dramatic
rendition Of the Valkyrie motive In the
famous Ho-jo-to-he her clear cut So
prano voice rang out to the echo, through
the large auditorium. One of the most
remarkable motives of the first Of the
trilogy is the sword motive, the motive
or the magical sword, against which
nothing can stand; Brunhilde's pleading
with Wotan, and Wotans farewell
brought the two soloists In one grand
climax OF song and closed the first part
OF the programme. Madame Gadski's
next number was the Siegfried aria, and
| this Stupendous aria, and one requiring
| the enduring qualities and remarkable
resources Of expression of a voice like
that of Madame Gadski's. trained to per-
lection, Hers is the art of an uncon-
| scious and musical soul. The Gotterdam-
| merung, illustration, and beautiful
| piano themes Introductory to Mr.. Bisp-
hams last number, again reveals the
! genius OF the master, is the elevated
| idealfty of the drama In music This last
OF the trflogy deals with the love life of
Siegfried and BrunhiIde, and again as
| In the entire recital Mr.. Damrosch's i'm
| ag1natiVe and demenstrative powers are
| the artistic background for the two so-
| loists.
The programme was a long one. but
! held the audience until the last notes
| We're heard. and the artists called back
again and again, and the event will &c
down IN st. Paul musical history as one
| Oh the greatest combinations and oper-
allc fecltals ever brought to the North
west. 10
| The company go to Winnipeg and re-
turn for q recital In Minneapolis Satur-
| day. ~ q