New-York tribune., 1902-12-02
MUSIC.
"TANNHAEUsER" AT THE OPERA.


Since German opera and wagnerian opera are
now synonymous terms in the United states anu
Great Britain, it is perhaps but natural that New
York and London should be compelled 10 accrP'
largely the perverted vocal art which mas grown
up Germany the result Of one-slded oeNctioii
to physical. dramatic and decama tory Ideals sup
posed to up Wagner's requirements from Whh'
he called singing actors. That these loeAl9'
which all ideal but brutal TealtleS'
were never desired even dreamed Of by Wig
ner. but like many emanatiens from Bay
reuth rtrversions of his expressed WISHES
o best e1aggera tions of his indignant pToleSlS
against style of sing-song which paid no heed 10
the rights of the dramatic text. all have ieafheu
who wished to do so long ago. Wagner wants"
men Of gigantic stature for his giants "heh He
could get them and men Of heroic stature
for his heroes; he also wanted action 70 con
form the word and the word TO be uttered lhtsl-
gibly. He was even willing that some OF the con-
ventions Of the old art OF singing should De sacf
feed 10 the genius of the German tongue. but ne
dd not want musical phrasing degraded into asll-
matte gaspirg, expressive cantabile thrown ove'
for strenuous explosions. and musical euPnohy rele
gated entirely to the orchestra. He did mot ASK
that his singers pursue each kissing siblant 10 tne
death and hurl every syllable of his poetry into me
of his listeners like grapeshot lie hkeo
manly tenor voice but he did not insist that parry
tones sing his tenor parts.
II Is possible that had opinion Still peeh hiuuiu-
ed by the old regime at the Metropolitan opera
House. which lives fragrantly IN the eI@'i
tude Of the lovers of the lyric drama III t'e"
York for the serious views which it inculcated'
the New-York public would have by TINS Iliiie
accepted some of the monstrous performance
that pass muster at Bayreuth. Munich ana NleIino'
but some of the elements introduced by the poiS-
glot regime of the last decade have spared US 'n'-
The patrons Of the Metropolitan Opera house are
still privileged respect music IN us true e9's'7
even while growing more and more foHdly ana IN
telIigently appreciative of Wagners operas anu
dramas They are, therefore also privileged 10 oe-
plore that the search for Wagnerian singers espe-
cally tenors can result in nothing better than the
two gentlemen who have been introduced 10
them by Mr. Grau this season UnitsGIy tneF eA
emplify along with excellent gifts ana afslic
traits all that is vicious in the Characterization
that was attempted above. 1t is not necessary 70
recur to Herr Anthess Lohengrin 10 estllndte
Herr GerhAusers Tannhauser. which was iieAtu
and seen last night. peasanter comparison
that of both them. together with uleH fie"~
and Italian colleagues, Alvarez. De Marchl az"
ssenac with four of the singers concerned IN last
nights performance. These were Nine Gaoski
Nine. Schuma Henk, Herr Van Rooy anu M
Blass. These singers have all been brought up III
the wagnerian atmosphere of Germany out lheH
are all exampIars of the art OF singing al hh"
what is due to each of the elements conSorteu
in Wagners dramas. and how TO aoJus' ',el' i
so that the beauties of each may mo expression.
They have beautiful voices; they have as iottv ana
sincere devotion to Wagnerian principles aS
Messrs Anthes and Gerhauser: but they nave
learned to sing. Good tone prooncuon' sooN
phra sing healthy sentiment and ample expression
characterized every bit Of their work, ana theE
stood luminousy and beautifully for wagner ,
dramatic and musical conceptions. To each al
eloquent tribute would be paid were 1t not that
all had taken part heretofore in the educational
process which has enabled the people 10 main
tain a hold cu aesthetic ideals and stay the ten
dency which tn 'eatens to degrade singing into
shreking. Most virginia., tender and tunetul was
Nine Gadski's Elizabeth, fresh and youthful. emo
tlonaIly intense yet aristocrauc Natures gracious
gifts were paired with conscientious artistic train
ing. What generous impulse and devotion can do
in the case OF a true artist illustrated in the
case of Nine. Schumann- -Heink. who. to save a
threatened weakness in the performance, sang the
part of the shepherd lad IN the second scene,
though she had given a recital In the after
noon. Her song TO spring and springs goddess was
more dramatically colored than the purely lyrical
situation demanded that II should be. but 1t was
fresh. hearty. spontaneous and II came like re-
freshing breeze after the scene in the grotto OF
Venus
barytone order 1t has plainly been screwed up
for such work he did, but not screwed up high
enough. His enunciation is the peer of the best
which comes from singers of his school. and he
has more respect for the textual and musical
phrase than the majority of those singers despite
his unwieldy organ. His presence and bearing
are commanding: his action warm, varied and con-
vincing More than that need not be said now.
Herr Hertz introduced many beautiful nuances In
the orchestral part. and exerted fine control over
all his forces: then disturbed the good impression
he had made by a lugubriousy slow reading OF the
slow portions Of the bacchanallan music and
o,lickstep pace for the choral march, It is ox-
tremey questionable II anything is gained by put
ting in the ballet music with such lameatable and
insufficient choreographic illustrations it re-
ceived last night.