The sun., 1900-12-29
"FIDyIIO" Ar THr OrERA
Bsetho,~us >ob,- wusc sung Last Wight Tor
the Iirt Time This season.

reoihovcu's "f.dcliu" was fuug last nirht
In German at the Metropolitan orcra House.
II vas ita fret Torformau'" - ~" season
nud vas presented hy 1oruun. Ir0W Schen'
E"r'rafu. Bass Muhlmann and Dlppol MI
Waiter Damrusoh conducted.
Tho COMPOSERS SOLITARY opera. 'fideho.
has been praised Throughout the whole
samut of appreciation. discrimination hhu
rnthu4a-m Wagner found much u iauIt
IN IT, but could not withhold Ids admiration
i,r that wonderful second act. He also dd
not fail 10 profit 10y many things IN the score
a score which IN It's entirety Is symphoh'o
rather than dramatic. But what fI"iI's 81
Reothovcu's genius We would have nlsseu
II 'Tidclio" had not been comr' ed.
Setting aside the weak first act, vet does
il not contain that remarkable quartet III
canon. 80 nll,d with conflicting emotions
Mir i-t ~ VuUdcrhaIt" MdrcstiinO ana
Jgrctnno's music is Mo3artean, and suited
e,acty to the characters HsGrro' II must
be confessed IL a bit Of a bore. with his un-
mitigatcd ierority his dark scowla ana s'rlu-
inrs lie is strikingly characterl2ed IN ms
air -Ha, welch Elm Augenblick But alter
all. the first set consists solely Tor the M"H-
n.hcent energy and passion displayed III tle
almost syulhouic rccitat!ve ana ar Az
schculicher. wo cilst du hinf ana hoilm
Hofnung" and the allegro -lch fog lhIs
number stands on a pinnacle even aiter
the trayailinys and thunderblasts Of modern
music dramutists In II are tho seeds of
Nagner's great ret scenes. such as the I'M
notation of BrunEhilde. And II sings, Tor
its composer had not thrown away the grand
manner of tho Italian tradition; that tra-
dl,ion DO faithfully. yet so largely interpre-
4 l., ,.r.t.Yas-nr MOyQTt
After this aria the prisoners music seems
n more phantom The second act reveals
the plastic character Of Bccthoven's dramatc
girt The entire episode and II l. but an
cui-odo. contains FiJrestdn's strong 500
dialogues rich in dramatic cScit trn"nt. and
the rather Theatrical, though effective struggle
with pi,arro This quartet leads t. the
noble duo % nameuiose Freude, ono OF the
most perfect things Of ita composer VINO
really daspised the operatic form The next
scene l. an aut-CllmaN. what BrethoN"h
might have done with another book or.
rather, what hc might have accomplished
II his heart had been in music drama no one
may dare say. Misogy mist as h" "a- Vet
he found time 70 praise IN song oil songs
courIb.a. love and fidelity. on" cannot
conceive OF either Magu"r or ' erdi Writing
ND to such u theme. And perhaps II Is better
20: .acralucutal love needs neither loot
Hght, nor hddirs to proclaim its consccra-
ton Bc-ide-, who can bend the bow oi Bee
thuvcn NOWADAYS?
The performance. rs whole, was sound
though more rehcnr,als wrrs sadly needed
fr the chorus particularly The role ~
Ft..to gives u, Terniua ~ her best. Sho
gang her "Ab>chcuChcr' with great fire.
great mentality Il was a fne exhibition Of
blended brains and temperament She en-
tirelv overweighted Dippel in the biz duo.
though he sang most cOuscentlOusiy. Dippel
Is not heroic enough for such part as Ftcr-
Csiur We etl cherish memories or LIN
Lehman and Niemaru in these charact er,
Dor,rain's Pi:drro was "a meiodramatlO as
last season. but he sings better this Blass
as 9oco gave an excellent impersonation ana
one that was vocallv satisfactory. Decidedly
a woman of high promise. FRITZ ScheT made
her debut She has "a brilliant, rather hard
voice of good free emission A. al actress, th!5
young lady had not enough 10 do for the form
ir, Of n definite opinion. SGe appears vivac-
ions and is pleasing in appearance Muh-
mann was tho u .Hisl'r Hubbcnict tho Jd'-
0uiro The "Fidolio" overture was very well
played. the trumpcts being too prominent.
II 10 not wise TO overempha-izc Beethovens
tonic and dominant The IeonoTa number
was taken too rapidly, and almost invited
an anti-cmax But IL good band and the
horn ohligato to tho "AbsChculicher was
beautifully done The chorus was bad.