The evening world., 1902-11-29
Mr.. Grau's New German Tenor
at First Failed to Please, but
Held Audience SpeIIbOund at
End.
APPEARED AS LoHENGRlN
HE Rendering Of the Legend Of the
Grail Turned Failure Into Sue.
cess-Hertz, the New Director,
Makes a Good Impression.

Until close to midnight the great
audience attracted to the Metropolitan
opera.House by the first appearance OF
tho newest German tenor, Herr George
Antilles. was incltning to the belief that
Mr.. Grau had acquired another operatic
gold brick. Much had been heralded OF
Anthes He was GsTmany's best, and
Mr.. Grau had suoh q time with the
Dresden opera directors to corral him
for his greatest opera troupe on
earth" that muc was expected OF the
aoquisition-too much, perhaps. SO
when Herr Antilles faced an audience
familiar with many Lohengrins he fell
among critical highwaymen. That they
rent his garments Is literal, for Herr
Anthes's costumes looked as II they
had done service in a solft-coal town.
Anthes = Contradiction.
Vocally the new tenor was a distract
ing contradiction for three acts. The
Swan Song he actually sanE-something
remarkable for a German tenor. a per
Sistently d~eclamatory class. and his
tone was smooth as velvet, though color
less. A moment later, in addressing
Elsa, he was chopping his phrases.
br eathing in the wrong spots and
sharping like a church tenor. His tone
was big, its production easy, but II
lacked tmbre and there were traces OF
a palatal quality. Then, too. Her Antilles
was not the comeliest OF Lohengrins.
for our latest memories are the statu-
esQue Van Dyrk and the Apoilonian
Jean. His ~posturinS was stilted. and
neither in his tone nor action did ne i'm
part the spirituality OF the character.
The church door scene of the second
act was encompassed safely, but in the
bridal chamber music Herr Antilles
came nigh to critical shipwreck. When
he sang on the key he was unable to
color the wondrous music depicting the
CONFLICT between Sense and Spirit.
II 1t was consciousness OF his failure
that keyed Anthss to his final effort
there IL hope that he will make a most
satisfying artist when no grows into his
new surroundings. for ne held his audi
ence spellbound with pleasure and sur
prise by his singing of the legend of the
Grail. Vocally It vas perfect. Tone
production. phrasing. shading were de-
lghtful. His voice was lambert. reso-
nant, soft as q eigh when he willed. II
Obsyed his moods and for the first time
evinoed an intimacy with the mystical
aspect of his role. His farewell to the
Swan was a REPETITION OF the pleasing
legato Of mis- opening passage. In the
phrase of the hour. he made n strong
finish.
Nine. Gadsld bewildered her feminine
auditors by the magndfcence of her cos
tunes. A diamond coronet worn in the
marriage scene created a ripple Of COM
ment along the grand tier. Her concep-
ton Of Elsa is most engaging. but she
was far from at her best vocally last
evening.
Nine. Schumann-Heink was a glorious
voiced Ortrud. with fresh. fine top notes.
Mr.. Blsphnm was also In magnificent
vocal fettle, and sang and acted a
superb Telramund, Bdouard de Reszke
was q satisfactory King Henry. and Mr..
Muhlmann again intoned the Herald's
music.
New Director Impressive.
A second newcomer on whom Interest
centred was Mr.. Alfred Hertz, the new
director. He did wonders with his or
chestra. It's work RAJ crisp n clean.
Mr.. Hertz has a hnT sense for nuance
and abundant spirit. His mastery was
shown in the splendid attainment Of his
climanes.