The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-12-11
LIE PROPHETIC" SUNG AGAIN.
MEl ERHEER'S MISN heard AT
THE OPERA.
Revival OF One OF the Most Theatrical
Works Of the French schoOl-Ai,srel
Repeats His Impersonation OF John tof
Le!den-Mme. Schu ma mn. IIcink's Fiues

| WAS revived at the Metropolitan Opera
House last night. This work is brought
| forward from time TO time To make capital
| Tor some tenor OF the school which en-
deavOrs 10 substitute much voice for the
subtle refnements of "A gentle art. De-
cssionally IL is given for the exploitation Of
a singer who unites high tones with hi--
trionic skill Jean de Reszke, Francesca
Tsmagno and Albert Niemann may he
! mentioned among the notable singers who
have unprecedented John of Leyden on the
Metropolitan stage Previous to last night
the opera had not been heard here since
| Jan. 20, 1900. when Albert Alvarez was the
John. Plancon the Oberthat, Edouard de
Reszke, Herman de Vries and Jaques Bars
| the Anabaptists Mime. Schumann Heink
the Fides and Suzanne Adams the Bertd
MIR. Nancinelli conducted.
Some of these have survived the fiigh,
OF two years and were engaged in last
nights presentation. Il seems a pity that
Meyerbeer could not have taken his part
more seriously He was man of indie
pendent means and 50 far "a pecuniary
returns go could have an Orded To snap his
fingers al the public But success was So
dear TO his heart, applause so necessary
TO his constitution that he threw aside all
other considerations for the dear sake of
these He had inbred II commercial spirit
He approached the stage with the instinct
of a manager rather than thar of an artist
He bent all his talent. and it was great
one. To The production of effective theatric
and musical contrivances
In the case Of lie prophetic" his inclina-
tions were readily supported by those of
his Nbrettst. Scribe was not the man TO
handle such subject as this story. IL is
filled with psychological possibilities One
cannot avoid imagining what might have
been done with it by such modern Italian
composers as Verdi or b, 10. Even Leon
cavallo or Puccini would have striyen for
a more direct and convincing exposition of
the inner life of the drama than Meverbeer
did.
Bur he was ever thinking Of his own
precious ground plan. He must have a
pleasing succession of arias, duets eusem-
bles laid against background of pictorial
variety. Darkness and gloom in one scene
must be followed by light and gayety in the
next Melancholy must give way TO pag-
eantry and despair 10 the delectablc calls
themes of the ballet. Thus the gentry
Of the Partisan boxes would not be bored
and NJ Meyerbeer would be voted "A vastly
entertaining composer.
Well, i, may I've that the nobility Of this
cosmopolitan town il amused 10y the opera
Certainly people Of artistic soul ar. when
they hear the Churtllug Of the agopizcd
Fides al the end 81 the cathedral scene
merry quckstep she MARBLES in her mis-
cry II il pretty tune and the gildesi
youth as they HE them To their midnight
resorts can whistle II between the whir-
! OF I.t0 .tsxn
these pedantic preachers that pirate of
holy art? What is the business of art but
to ainuse those who have money enough
TO support 1t?
But Meverbeer's operas are, after all, a
product Of their time They belong TO the
era of Victor Hugo and Dumas, the era of
romantic exaggeration, Of titanic effects,
OF the tragic stride and theatre clocution
Meyer'~er is himself the Dumas of grand
opera nd when We snif at his RdoLis and his
Vdsco d. ddnds LEI Us AT any rate remember
that they are no better nor no worse than
the redoubtable ID Artagnan nor the POLISH
ed Aramis.
None the less every repetition Of "Lc
Prophetic causes sigh that neither Scribe
nor Meyerbeer fully realized the posi-
bllitleS oil the character OF Jean Only
in the "Roi du Ciel" does the music approach
the mystic and rapturous elevation OF
that Misguided spirit, and only IN the scene
OF the temptation docs the book rise To a
height OF real dramatic power This scene,
Of course, largely depends Tor its eTec-
tiveness on the acting of the tenor Now
Mr.. Alvarez, who was the John Of Leyden
last night. Is not subtle. There is nothing
elusive about his art. His atmosphere is
physical rather than psychological
As John Of Leydon he conveys the i'm
precision OF man of strong and conflicting
passions, but not creature irresistibly
driven forward by visions appea ring To
him to be- of supernatural origin. Beyond
this his characterizat ion has no special
significance. Mr.. Alvarez cannot dives'
himself of certain pictorial peculiarir Jos
which serve to project his personality
he said of him and that il that he is always
manly. II he would only sing In tune.
much might be forgiven him. Alas he
sang last night in many keys, but always
in pitch of his own, not that of the or
chestra.
Mime. Schumann -Henk's Fid.s was a
moving Improvisation. She has done
nothing in recent seasons that 50 closely
approached what the French call the grand
style. Her delivery of Ali mon fills" was
that Of truly great artist Here she rose
to the full height Of one of those melodic
inspirations which plead - strongly for
the award TO Meycrhner of seat among
the mighty. But II wa in the funess and
| exhaustiveness of her characterizat ion
| rather than in any part ocular episode that
Nine. Schumann- Heink displayed her fit
ness for one of the few great cont ratio
roles still kept alive Her acting made
Meyerbeer'S music in the cathedral scene
look more than ever like carni val costume
upon the back of dying per-oa,
NJ. Gourmet was as dignifed a. any man
could he in the part of Oberthdl II il not
In mortal To command success In such n
role. Still less l. IL practicable to make
realities out OF the three Anabaptists
Edouard de Reszke looked portentous.