The St. Louis Republic. [volume] (St. Louis, Mo.) 1888-1919, 1903-10-04

/ Prosper Merlmee. Their fasclnatIngiy
~voluptuous coloratura work Is the theme
Of float sixteen. We see the Plaza del
TorOs. Carmen is standing In her be-
witchingly braZen enrontery before Es-
/ camille. the bull-fighter. She IS fascinated.
He has been singing the TureadOr Song,
which since its first rendition. who has
heard has never forgotten. The mother OF
Don Jose. the Lieutenant, whom Carmen
has fascinated. oversees and overhears
the meeting. The innkeeper sits browsing
by his door. Carnen's graces are all the
scene. The hint OF tragedy Is IN the glimpse
OF what is 10 come when Don Jose, for
saken and disgraced by Carmen, shau
wrcak his Spanish vengeance.
A grimly animated scene Is that which
summarizes for the purposes OF this
pageant. in float seventeen. Carl Maria
Won weber's Der Freischuetz" II Is the
tale Of the demOn-favored huntsman,
whose aim never fails. because he uses
magical bullets. The scene Is laid In the
VOLTS Glen. where we behold Al mean
tat!on scene, such IS has never been sur
passed on the stage, even In these times OF
many and unique mechanical and cleo
.ricaI devices and high-aTt stage carpen-
Try.
And again Wagner. This time It is Tho
Flying Dutchman'' and the hoat Is mum
Der eighteen. This float tells Its Own
story. The Flying Dutchman' is seen in
/ black feroclty IN the PROV OF his ancient
ship. sailing and sailing and sailing until
Judgment Day. because he has deemed II
impossible to find a maiden faithful unto
death.
"sIRGFRIED."
"siegf-ied' is float nineteen. Evermore
Wagner. But mark how the frequency OF
Wagner marks him not only the great mu-
s!cian. but a great story teller. a great
painter Of pictures for the eye. not less
than an interpreter OF life 10 the ear.
Here IS SieEfried himself in his rugged
might. clad in a bear skin cost fighting
the great dragon at the mouth OF the drag
on's cave. The dragon Is only a meta
m~ohphosed giant. Fafner. and protects the
Rhine treasure and the magic ring OF the
Nibelungs.
aRhelngoId,'' float number twenty, Is
Wagner vet again. We are here let down
into the depths OF the stored Rhine. From
the bottom tuts up a great rock, upon
the apex OF which rests the great nugget
OF gold. sending forth through the pale
green water a CLEAN that illUmines the
cement ard reveals to Us the Rhine
maIdens IN their lly-twined hair n their
robes Of Elimmering water grass Above
the dwarf Alberich watches them and the
treasure from which Is to be forged q
ring that viii bestow universal power upon
its weareT.
Twenty-hrst OF the chariots OF color and
fame is the float devoted 10 AIDA" writ
ten TO order for the Khedive Of Egypt
by Verdi. the last OF the giants Of melody.
In this great work Verdi s~urrenders 10
the wagnerian influence. departs from the
Italian Elasticity and sweetness, n
turns his music TO more strenuous themes
in grander settings. Egypt IS the scene.
The events transpire In Memphis and
Thebes what time the PhRraohs relgned
in the land. Aid Is a slave. beloved
by Rhadames, a warrior. who Is also be-
loved by Amneris's daughter OF Egypts
Queen. Amneris learns from Aida OF
her love for Rhadames by telling Aida
that he was slain in battle n Rhadames
confirms the truth by pleading for the
lives Of the slaves taken in war from
Ethiopia, among whom Is Aida.
Last float OF all Is number twenty-five.
"oberon." This Is another fairy scene
that attracted Won Weber. Here Is a
fairy bower with nothing therein but
all delights Roses garland the scene.
Fairies fit about to sweetest music. We
see Oberon with his magic cup and his
equally magis horn whereby Huon OF Bor-
deaux is saved from perils manifold.
Oberon's Queen oveTlooks the nghtsome
scene from a throne in a bower.