The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-12-23
"LESHUGUENOTS" PERFORMED
MEfERBEERS OPERA HEARD AT
THE METROPOLITAN.
How the bloody Dcings Of Charles IL. Of
France Inspired . German Composer
OF French Operas-SOme Character.
lstlcs Of the Presentation Noted.

Philip ii. OF Spain Is unquestio nably one
OF the most fascinating characters in his
tory, but he could hardly have been q
cheerful monarch. He was immersed to
the centre Of his royal neck in extremely
hot water all the time. and his efforts
10 blot the Professionalism OF the map of
Europe issued in disappointment and grief.
But how magnifcently he spilled blood
while lac was at 1t. No wonder he took q
strong liking TO Charles TX. Of France. who
ordered the Massacre Of st. Bartholomew.
Be we'll assured" wrote Philip, that in
furthering thus the affairs OF God you are
furthering your own still more" wise
and puissant aid Of the Almighty was Charles
TX. Admiral Coligny had almost persuad-
ed him to send an expedition OF French
Protestants against the Spanards in the
Netherlands, when some unrecorded Spdro-
fucite In the pay of the noble house Of Guise
inserted a knife between the old seadog's
ribs and caused him to lose his interest in
holy warfare.
What has all this to do wit opera? Well
last night at the Metropolitan Opera House
Meyerbeer's Les Huguenots- was sung for
the first time this season The climax Of
that delectable work all good opera
goers do not know. Is reached through the
struggle between French Protest ants and
Catholics and Ii based on the NJ assacre Of
St Bartholomew. Charles IN. does not
figure in he book. but there is a most lovely
young quee of Navarro, Marguerite de
Nalois, who wears a dinner gown and all her
diamonds out in her garden in the day time
and who expresses her opinion Of the polti-
cal situation in France in glowing coora-
ture.
Then there is the Lutheran hymn. tn Q
"Marseillais, Of the Reformation. Elm feste
Burg Isl un~"r Got,.- Mare, the faithful
retainer of Rdovi tho hero of the opera,
carries that air around with him wherever
he goes and whenever he desires to reprove
the glddy conduct OF Catho lie mobiles or to
proclaim his own fidelity, he turns it on
with a siXteen-f DOT stop. Meyerbeer makes
1t the theme Of the prelude of the opera
and we are le to understand that there are
great musical dol ngs with IT,
Ii is not q rite possible to forget, however,
hat Claude G)udimel, the teacher Of rales-
rini. was slain in Paris in the Massacre
OF St Bartholomew. Nor can we make a
blank in our minds OF Bach's Reformat ion
cantata. which was perfo rmed 80 recently
as last Thursday night by the Musical Art
Society. There is much difference between
the sort Of music represented by Palest rina
and Bach and that prepared for the edi fica-
ton OF the operate gourmet by Jacob
Meyerbeer.
AS for the introduced choral said
Schumann, (which sets Frenchmen beside
themselves, declare that II a pupil brought
such lesson IN counterpart to me should
certainly beg him 10 do better in future.
yet superficial! What blacksmiths work,
that the mob may not fail to observe II,
is this eter nal chanting Of Marcels A Firm
Fortress. Schumann, too, thought the
much-praised effect Of the benediction OF
the poignards easy to construct, and 10
it seems now Then this great criticalled
attention to Meyerbeer's cleverness in
making contrasts to his stunning mass
combinations by writing airs with accom-
PAYMENTS OF one instrument Cunning
stagecraft, that!
We may as well let Schumann finish the
summary view Of lies Huguenots. for he
was just. only envy and hatred can
deny that the work contains many better
things, many noble, sublime emotions.
Thus, Marcefs battle song ia effective. the
pages song is lovely; most OF the third
act Ia interesting through the living por-
traiture OF its nat onal scenes, the frst
part Of the duet between Valentine and
Marcel from it's character. So In the sextet
Interesting. the testing chorus is in a comic
vein; the dedication Of the poignards has
more than Meyerbeers usual originality;
and. above all. the following duet between
Rdoui and Valentine has flow Of idea and
this compared to the commences, dis
tortion, unnaturalness, immortality and
unmusioal character Of the whole?'
After these kind and encouraging re-
marks by the man who proclaimed the
genius Of Chopin, the advent Of Brahms
and the threatening greatness OF Wagner,
the masterpiece OF Meyerbeer may be dis
missed. He was the Clyde Fitch OF grand
opera. Les Huguenots" always draws
a 6emonstrative aud fence. Each char
separate and special opportunity to per-
form vocal feats and after each the typical
'Huguenots" audience always tries TO get
repetition. Not TO get a demand for an
encore in this opera Is to fail signally; but
no one ever fails at least. not at the Metro
poitan Opera House.
Les Huguenots" is an all-star opera,
and its chief potency with the bargain
hunting part OF the public is its presenta-
,l9n OF the opportunity to hear several high
second act last night as the stars passed
before the curtain. the lineup consisted
of Mines. Sembrioh, Gadshi and Scheff,
Messrs. Alvarez. Scott, Gourmet and De
Reszke
The conventional method Of commenting
on Performance such az that of last night
N TO call the roll OF the singers and mention
whether each was in good voice and whet her
'n's one or mat sang such or such an air
well. That il routine criticism and a.
most performances Of Lies Huguenots"
are purely matters Of routine II Ia suitable
But it is just a little wearisome. and not at
all worth While
Let US summarize. Nine. Sembrich
Marguerite dc Vdlois, not at all well and
therefore pictorially more brilliant than
vocally; Nine. Gadski, Valentine, very
sorious, even foreboding. in action and
somewhat weighty In vocal style, but a
presentable Valentine; Mr. Alvarez, Raou,
on better terms with the pitch than usual
tasteful In style. skilful in phrasing and
manly in action; Mr.. Scott, DE Nerers
handsome, dashing, vocally vigorous: Mr.,
Gourmet. 81. Bris, a very dark and dire
conspirator indeed: Mr. De Reszke, Marcel
soInewha fat and scant OF BREATH but
suddenly awakened TO new life and vigor
Of style.
Special mention must be made Of Mime
FRITZ Scheff's performance Of the page.
She succteded In disclosing the wealth
Of some of her physical charms and the
utter poverty OF her vocal resources. Her
singing OF her dri1 d. erfrdis was the most
futile, tenuo,s and childish attempt Of
the sort ever heard on the Metropolitan
stage. Such singing would not be ac-
ceptable In comic opera" The young
woman sustained the high level OF her OPEN
ing air throughout the evening and further
distinguished herself by q persistent search
after important positions on the stage.