The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1903-12-06
dependence of the indianapolis Journal.

CORRESPONDENCE of the India napolis Journal
NEW YORK, Dec. 1.-THE Opera, spelled
with capital, means many more things
than one form of music. and it is a part of
human imperfection that some of those
things are evil to artistic purpose. Indeed.
opera I'm this day is one Of the minor musf-
cal phenomena, though the most imposing
and very often in its public presentment
its significance is more extrinsic than in
trinsic. But great variety of interests is
always offered, and the first four produc-
tons of the present season at the Metro
politan Opera House have proved ex-
ception. To pique curiosity, in the first
place. there was new director general who
had announced elaborate reforms and ex-
tensions along the line of the German idea
of dramatic verify, on the stage and gen.
eral improvement of the rest of the theater.
Mr.. Heinrich Conried had gained reputa-
ton as the manager of a playhouse where,
from fall to spring. the best acting
pany in New York could be found present
ing dramas in German of far better quality
than those at the Broadway theaters.
OF course, the retainers of the Grau reg
ime scoffed. saying that Mr.. Conried would
find the management of grand opera sur
little German dramatic stock company, but
the Wagnerites were happy in predicting
beneficent revolution that would show the
omnipotence of the master Of Bayreuth and
win for him the heart of the public to the
exclusion of Italian, French and old Ger
man composers. Mr.. Conried's first sign
was the uonengagement of some of the
principal singers of the Grau administra-
II
that his greatest effort in the first year
would be the production of "Parsifal," the
crown of Wagner's labors, over the pro-
test of the monopolistic heirs of Bayreuth.
And, finally, he engaged as first conductor
Mr.. Felix Motif, pupil of Wagner, who
knows more accurately that composers
intention than any other man, excepting
DR.. Hans Richter.
But the first disclosure of the effect of the
revolution was the ancient italian "Rigo-
lette." In IT, Mr.. Caruso, a tenor whose
fame had long preceded him from Europe,
made his debut in this country as the Duke,
and Nine. Sembrich was the Gilda, with
Mr.. Scott in the name-part. When Mr..
Caruso's voice first sounded II was full,
clear and facile. and when he sat at a table
| in Sarafuciles garden and sang La donna
e mobile" the last, highest note rose with
so little effort that 1t was almost ventrilo-
quail. Nine. Sembrich's tones mounted,
curved and sparkled. The story of the
opera Is dull and ugly, but its melodies,
| not highly inspiring, were sung by voices
| that made them golden. The audience was
appropriately enthusiastic. II filed the the
alter. and the gowns and Jewels Of the wom-
| en- were displayed brilliantly against the
| crimson background. The final curtain fell
| at 1880 o'clock. There was a riot of car
riages in the surrounding streets. worried
horses plunging. raucous-voiced drivers
cursing, policemen franucally shouting in
| structions. And those were not the least
significant elements of the occasion.
Xxx
| The Wagnerians' inning was second and
| they made feeble showing; the audience
| for die Walkure' was scanty and cold.
That, Notwithstanding the tenor was Mr.
Kraus. the baritone Mr. Van Rooy, the
soprano Mime. Gadski, the contralto Miss
Fremstad, young American making her
| first appearance here. and the conductor
Mr. Motif. 1t was nothing less than base
desertion. Mr.. Motif pondered every bar
and the heavy music-drama was doubly
| weighty in consequence. Mr.. Kraus had
| been absent for several years and his adj
| mirers agreed that he had developed on all
sides; blonde giant he detained his lines
! and moved about the stage Mr.. Van Rooy's
| impersonation of Wotan was powerful in
voice and bearing. Nine Gadsh was a
| too charmingly human Brunnhilde. Her
white robe trailed the rocks, her hair
| shimmered down her back, she waved her
spear with difficulty and her Valkyr cry
was not at all savage and megaphonic. She
was emphatically and delightfully."- out of
| the strongly-colored montonous and unreal
picture.
| The setting of the stage was admirable,
| and the new lighting apparatus worked ex-
| cellently, but there was trouble with the
clouds in the second act. They descended
| on the mountain top in such masses that
| the fight there invisible. The COM
poser's directions were followed closely.
| Fricka's chariot drawn the scene
| by two stuffed goats, and Brunnhilde was
accompanied by a live horse, which would
not keep STILL When Wotan started the
magic fire around Brunnhilde's stone couch
| steam i'm which sparks mingled and through
which red light shown was employed eff
| fectively But at none of the climaxes was
there more than just enough applause to
warrant the singing-actors appearing be-