The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-08-07
The Production Of Parsifal."

1t is quite evident that the new di-
rector of the Metropolitan Opera House
purposes to produce RICHARD WAGNER's
last music drama "Parsifal,' next sea-
son. This extraordinary compound Of
opera and sacred mystery play has
hitherto been the exclusive property Of
the Bayreuth Festspielhaus, and to wit
ness performance of it worshippers Of
WAGNER have had to travel many weary
miles, and put up with much inconven-
fence and extortion. Upon the exclu-
sive right to this one work the Wagner
heirs have thrven though their royal
ties from the performances of the mas
ter's other dramas have been by no
means inconsiderable. Nevertheless, in
recent years Munich has seriously threat
ened the supremacy of Bayreuth, and no
longer ago than last June London gave
performances of DER Ring des Nibe-
lungen' which were almost up to the
Bayreuth standard,
1t is not at all remarkable, therefore,
that Frau CosIMA WAGNER, the widow
of the composer, and her ingenious son,
SIEGFRIED should be employing every
method to prevent the production Of
"Parsifal' in this country. Bayreuth
is now patronzed chiefly by French and
Americans. If the latter can witness
"Parsifal" at home, why should they
cross the treacherous Atlantic to sit
in solemn silence in dull dark dock"
in the Festspielhaus? Mr.. CoNRIED,
who is a German of long American ex-
perience, must be smiling in his sleeve
at the pother he has stirred up
Herr PossART, the intendant Of the
Prince Regent Theatre at Munich, has
added to the ga yety Of the time by state
ment that "Parsifal' is not the property
Of the Wagner heirs, but Of the estate of
one OTTO WAGNER. He neglects to say
who OTTO WAGNER was or how he came
to be possessor Of work which WAGNER
never sold outright. He disposed Of
the rights of publication to the SCHoTTs
for $4,000, but he reserved the rights Of
performance, and no one in Europe has
ever been able to acquire them
PossART further AYERS that Mr.. Con-
RrED purchased the score with the custo-
mary revers, or agreement not to use il
for public performance. This may or may
not be true. II Mr.. CoNRTED did 80 pur-
chase a score and chose to violate the
agreement made under the German
copyright law, it is difficult to see by
what legal process he can avoid trouble,
for our courts have decided that the
printing Of an orchestral score and the
accompanying instrumental parts does
not constitute publication in the sense of
carrying with it performing rights. Mr..
CoNRIED knows this as we'll as any one
else, yet he continues to sit in the light Of
publicity and make his preparations for
the production Of "Parsifal
Frau WAGNER in her extremity has
appealed through an open letter to some
Of the singers who are to take parts in the
American production. She realizes that
the worst is yet to come and asks them
whether art has ceased to be their re-
ligion and Mammon has become their
deity. To one Of these artists who COM
planned Of the inartistic conditions pre-
vailing at the Metropolitan Opera House
Frau WAGNER wrote Take your cheques
and say nothing" Strange how differ
ent such things look when they acquire a
personal interest. Frau WAGNER need
have no fear; her advice will be accepted
and the famous Wagnerian interpreters
will sing in Parsifal here and give us
the benefit of their Bayreuth training in
their roles.
One thing is certain: Mr., CoNRIEp has
score OF "Parsifal concealed on his
premises, and he is going to produce
the drama next season. SO this tempest
shall not be in vain