New-York tribune., 1900-12-27
MUSIC.
PUccINrs LA BoHEME.

Nr Cirau has promised his patrons an ,nr,suaux
large number OF novelties this season In snta or
the encouragement which the management of the
Metropolitan Opera House has met with since the
last OF wagners available works was hrousbt
forward under the German regime Mr. Srau,s in
.sntions are laudable. and IL is much 10 ha honsa
tfat they viii meet with substantial recognition
sn5 reward on the part OF the public II thev
DO no matter whether or not the new works prove
~ be masterpieces, the fact win bring ebAa- ona
encouragement 20 the hearts OF those who are
hoping and striving see opera naturaI,zaS An
America When once II has been so naturalized
there viii be the same varied pleasure for the
opera goer that there is now for the lover OF
orchestral and chamber music. who suffers no dep-
rvstion from the fact that he is living in New
York and not in of the European canitals
The first Of the promised novelties which was
brought forward last night. was new only TO the
Metropolitan ist 1t was Pussni's La Boheme"
which first given here by an itinerant italian
company az waIlack's Theatre in Nav 1898 re-
pesfed by the same organization after Il had
undergone OF the changes to which itineraut
Italian companies at the Casino IN October OF the
same year. and finally was incorporated in the
repertory Of the Castle SQUARE Opera Company a
uttle more than month later. This was its first
nsTforrnsnce IN English, and Mime. MeIba who had
announced her discrimination add the opera
10 her repertory, witnessed ii from OF
n the American Theatre
There is quarrelling with prirna donnas
II Is so seldom that they are willing TO add to
the repertories which they have carried away
from the OF their teachers that when they
90 so the condescension ought TO be recognized
huubly and with gratitude. Who are we that we
should question the 20 which one OF a hundred
millions chooses 10 put gift that the remaining
rinety-nine million nine hundred and ninety-nine
thousand, nine hundred and nnety-nine must for
ever contemplate with admiration. envy and amaze?
To US surely. nothing be so becoming
modest stiffness and humility" But the age is
inpsrtinent: csvflers VIII have their fling. and
even the humblest Of prirna donna's admirers
may wish that she might always preserve har-
nnony between her gifts and our fair desires and
gently fault her II she preserve # la Boheme''
is foul subject and fulminant but futile in it's
music. Its heroine is twin sister OF the woman
Of the csmellias, whose melodious death puts such
8 delightfully."- soothing balm upon
that We forget 10 weep IN verdi's opera But Mimi
fouler than Camille alias yioetta- and Pauccini
has able administer the palliative which
lies in Verdss music. The OF Puccini IN con-
nection with that OF Verdi invites curious
psr1son. FYive generations OF nuscians-son father
grandfather, greet-grandfather and great-great-
grandfather. unhroken line reaching back from
the beginning OF the twentieth century
the second decade OF the eighteenth
counted IA the family OF Puccini, the first
Giaoono of which was born IN 171z. the last
in 1s5S Verdi was the first musician Of his
tribe go far as the records show; yet his career
covers half Of that OF the i've Puccnis in time and
embraces al the phases through which italian opera
he's passed IN three-quarfers OF e century, except
the alteration from his own style exemplihed by
Puccini and his companions OF the young ''veristic"
school. Three generations practically summed
up IL Verdi. and In his last work there is more in
vention learning and real fire than In all the works
Of those who fancy themselves leaders OF the Lew
school which has sprung up within the last decade
and half. But these sound Ike end OF the century
reflections, which are not essential here.
Ths stage OF degradation TO which dramatic music
has been reduced IN la Boheue' is that occupied
Il Is for moment the vehicle et passionate express
Eon hut oftener is the vehicle OF noise and some
dimes not the vehicle but the sonorous disturbance
itself. Apparently Il is the willing slave Of the text
but IL reality It attempts to be more than the text
It's tendency has been carried one step further in
the opera Louise by Chsrpentier. which is adored
q the sewing girls IN Paris because It tells OF the
noble sentiments with which one OF their kind is
Inspired when she kills doting father IN order to
enter the exalted estate o< hArlotry. In louise
the street cries OF Paris worked into q singing
instrumental fabric over, under and between which
the stage folk shrek disointed bits conversation
The second act Of la Boheme" reaches this phase
IN which music becomes merely decorative Silly
and fnconsequential incidents and dialogues de-
signed show the devil-rnay-care life Of artistic
Bohemia depicted BY Murger in his romance
Ia Vie de Boheme" (Which had great vogue
among sddlepated persons a few decades ago
end the spirit OF which decadent writer's French
have inpotently attempted 70 ape ever since)
oaubed over with splotches Of instrumental color
without reason and without effect, except the
creation OF & sense OF boisterous excitement and
confusion. In his proclamation Of passion Puc-
cini is more successful soon as he can become
strenuous; but even here the expression is super
fetal and depends upon strident phrases pounded
out by hitting each note blow the head II
escapes from the mouths OF the singers the
oonpanytng instruments. But the subject has been
discussed In these columns with quite enough full
ness heretofore. II IS better 20 dismiss it with
smile than TO reflect upon II TIL vexaton sets in.
All that could be done habilitate the opera was
done by Mr. Grau and his singers last night
Though Nine. Melbs was the direct agency Of fits
Introduction into the Metropolitan list 1t IS not her
opera but Mr.. Saleza's. His impassioned singing
his reckless outpouring OF strenuous tone, thrilled
last NIGHTS audience and frequently evoked
something like a frenzy of enthusiasm. II the
opera secures a vogue it will be his achieve
raent more than that OF his companion,
though Nine. MeIba did some neat character act
ing and delightful singing In the first act In the
second her interest was never aroused, and there
were only her beautiful voice and placid style
70 admire in the scene which in the companion
drama VerdPs genius transformed into an apotheo-
sis Of vice and phthisis. Messieurs Campanari.
Gilbert and Journet romped through the comedy
scenes with evident susto, and sang with an en-
ergy worthy Of a much better cause. Miss Occhi-
oini, enlisted from outside the ranks Of the COM
psny 70 replace Miss FRITZ Scheff. just good
enough 70 serve her not very serious purpose. AL
ana the stage furnishings and management ade-