New-York tribune., 1901-06-16
MUSICAL COMMENT.
BoITo's "NERo"-How PADEREwsKI's
OPERA WAS RECEIVED-THE MANU-
SCRIPT SOCIETY-FESTIVAL OF
THE NORTH AMERICAN
Observation-Disclosures.


in fact, that the newspapers first began 10 print
paragraphs about BoitO's opera Nero Peri
odcally since the news has cropped up mere
and there with all the variations that could De
invented on the themes rs writing and has writ
ten" All sorts of theories have been advanced TO
account for the fact that the opera has not yet
seen the light Of performance or even publication
Foito was supposed be dstrustful or his aoility
as a composer and have but poor opinion OF
his own score. Certain ii is that after 'Mehs-
tofele" had settled down into the place which II
now occupies in popular and critical appreciation
Boito seemed more eager TO cooperate with Nerdi
than 10 appear independent composer No
his influence upon the great genius Tor Whofn
he wrote the books OF ''Otelo' and 'Fastaff' was
great and If the music Of 'Nerone' Is given
world IL viii be interesting 10 see how much
the lovely and sympathetic intimacy OF the TWO
men is reflected II the score of the younger. Two
anecdotes, both apocryphal perhaps conscience
does not walt upon the imagination Of the Italian
raoonteur), are told to show how differently the
two men looked upon ''Nerone." Which is the
greatest opera" Verdi is quoted as saying; my
answer 10 the question VIII astonish you II Is
Boito's 'Nerone' " Boito, however who has been
openly accused OF hiding his light under Nerdfs
bushel," when asked why he did publish the
opera extravagantly praised. is said 10 have
replied that ne needed the 10 sit Al the
panoforte and could not spare il
Whether or not sentimental embargo OF one
kind another raised by Verdi's death. and
the world is last be permitted to and hear
naturally upon the fact that the hbretto OF
''Nerone" has been published To judge by the de-
scription given by the Italian correspondents of the
English newspapers the lyric tragedy Is LAID out on
large lines II is in FIVE acts, and the time OF the
action is the period between the murder Of Agrip-
pima and the burning of Rome. The principal
characters are Nero. Simon Magus, Astoria "a
snake charmer). Tigellinus and Fenuel "a Chris
TAM Says the correspondent OF The PaIl Man
Gazette:
3a,-l4 m he
Appan Way, come bury the ashes OF his mur-
dered mother hoping thus 10 be delEered rom & me
apparitions which haunt him, and OF when simon
cbsf nss mnsics eec m is Obtained by Pater Noser
sung By Christian, in pure contrast the
sionate passages before and after II. Nero az
is overtaken by MS litter and escort and is
he recains his courage and goes triumphantly to
Rome. The second act takes place in the temple
thither by curiosity, superstition and the hope of
being rid Of the spectres that torment nm steiia
whom Nero addresses words of love; but when ne
has one OF his gusts Of furious passion. and, to-
gether with his Pretorians; wrecks the Temple,
The next act opens among the Christians; who are
broken in upon by simon, who has vowed 10 nave
The first scene OF the fourth IS in the Circus
Maximus. TO which the great fire penetratesi and
air. The second scene is in utter contrast, being
shose Killed in the games are deposited Here are
seen Fenuel and Astoria searching for Ruhica.
vestal virgin. sister OF Fenuel. The last and nth
Nero where The Emperor % & Tees bBsSs b ss h on
loses himself. seeing no more an IMAGINARY fnnlnr55
with spectres OF his many victims among whom at
last he sinks unconscious. amid the curses Of all
The critical opinions Paderewsk's opera.
s.Manru" which have hand indicate
troubled of mind the part OF the critics.
The enthusiasm Of the public is universally cele-
hrated. and also the ingenuity and brilliancy OF
the instrumental part OF the score But the vocal
d part. resting upon a confessedy poor hbretto.
seems have caused doubts in the minds Of some
writers touching the permanency of the work
The correspondent of The London Daily News"
after telling the story of the opera, says:
The subject gives ample scope for national color
L s; D hs ~ sTst snS ~ sorsynost oreafeS 5siirctIy
Polish work in which me musical characteristics
of his nationality brilliantly forth. The
score is Individual healthy and essentially musical
The vocal part is melodious and dramatic, accord
ing TO the requirements of the situation The
master hand. while the Instrumentation is YER
seem TO indicate the fruit Of ripe experience some
OF the orchestral effects are striking and novel
and unerring taste 4 national dance scene brings
fne @ a Tst & Sot 70 SPIRITED @ close a long and neG1 %
finishes the second act while the third, with it's
no way inferior to the other two. Herr Anthes.
Herr scheidemantel and Frauein Krull, the last
though the chief honors Of a more than usually
Muslkdrectcr schuch. The reception OF the new
opera was enthusiastic in The highest degree. the
ence that filled the house.
The ''Frsnkfurter Zeitung'' thinks that per-
manent success for the opera made impossible
by the book, and finds fault also with details OF
the score Al the end however, says:
Neither in the vocal nor the instrumental part
DO We meet with epoch making incidents or ir-
resistible Invention Ana yet very significant
which something truly good may be expected when
nbretto. Padarewski's sttifude of certainty as a
composer is neither affected acquired: he is TO
the manner born. There Is something encouraging.
sesses PadareV,sEi has The courage 70 he tedious
an times 70 rsnt with male colors Al times and TO
90 10 he extreme OF the permissible in the matter
OF rhythms II is in the department Of rhythm. in
deed. that ne is often interesting and novel.
DR. Robert Hirschfeld. in the CAlteD ''Freie
Presse." OF Vienna:
Paderewsd became a virtuoso in Vienna and
Iheh as pianist m 1eNeiopea r lIo H a
creative artist he wanted 10 present Paderewski
70 the world a new name new conception.
The followers Of art IN general observed this change
OF front from distance with tense interest;
Joachim in person came 10 Dresden. the of
the brilliant occurrence the territory
which is subject 10 Paderewslis art a pianist
sent deputa ations nor were youth and beauty miss
ing al the festive function; anXiously eEpectant a
group OF radiant women SURROUNDED the manoeu-
wiring artist He executed few gorgeous evolu-
heretofore occupied by him. He remained what
he had been-virtuoso, but IN addition a dazzling
NirtuOso OF the Wagneran style OF moods OF the
orchestra. Paderewskis vlrtuosty began To show
itself the outset in his treatment bretto:
platitudes. brought harmony into patchwork made
OF Alfred Nossig which deserved a kick into the
realm of arr with gentle pressure upon the soft
hausteo the great capabilities of PadereWski and
clings TO details which he ornaments
marvelously with all conceivable taste in decora-
broken he labors for the aesthetic purposes OF the
moments ne gathers beauties. chooses effects
lights and shades most artisticaly: he is a master
OF details In the technique OF ornamentation: he
keyboard of hmm