New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-12-01
MUSIC.
lie NOzae di Figaro.

There are many things which are essential a
perfect performance of Mozart's "Nozze di Figaro
which pretty long memory cannot recall as hay
ing been offered to the opera public of New-YorS
One of these is a proper environment for the
sparkling OPERA for in the vast spaces of theatres
like the Academy of Music and the Metropolitan
Opera House the librettist's lyric version of Beau
marchais's comedy and Moaart's musical setting are
as much out OF place would he "G6tterdam-
n,eruns" In a Fifth-ave salon. This however is
one of the things for which the grOans %
a IanentabIe jeremiah have long since ceased
Opera is no more cultivated for the sake of
art than is the drama. and some OF the finest
products OF It's greatest geniuses might as
will be put away in camphor to await a new re-
nascence few years later. Those who
love it may vet enjoy IL IN the unviolated quiet or
their chambers in intimate communion with the
book and score they surely never will under the
prevailing conditions at opera house where
even the exquisite singing Of such artists as Mes
DANES Sembrich and Games is all but wasted and
works such charm IL does only IN the numbers
which would be quite effective in the concert
room
Thus much for the wall: now for the record with
slight admixture Of criticism possible
The opera had representation at the Metropolitan
Opera House last night. Three OF the persons i'm
plcated in II less familiar with the
style which 1t demands. They were Nine Sem
brich. whose Susanna in spite Of its witCheries SIN
lacks that element OF frolicsomeness and vocal
sertiveness which is essential 20 make IL properly
dominant in the play we'll the score: next
Nine. Eames. whose statuesque beauty and gentle
action warm the imagination. in one direction. but
scarcely recall the character in the French comedy
or dilution In the opera book. Its loneliness is
chiefly the eye and ear; finally. SignOr Scott
whose singing quite covers the -norose and almost
tragic conception which he formed of the char
acter of tho Count.
Between this trio of artists and the ponderous
Blass who essayed the part Of Figaro there ap-
peared a wnsome newcomer in the person OF Miss
Bella Alien. the latest addition Polish in
vade.s with German education and expert
ence on the stage of Covent Garden. Miss Alien
was an arch Cherubino who made sufficient appeal
20 the synpathies Of the audience 10 win repe
tition OF Vol che sapete without making IL clear
that her voice has vet found itself. II Is a Ger
man custom TO permit bassos 10 sing the music OF
Figaro and. since there no longer a Campanari
in the company and the barytOnal products OF
modern Italy know not Mozart. Mr., Conried fol-
lowed the German custom But Mr.. Blass Is a
large body physically and vdCallX. and, Ike large
bodies as n rule, he moves slowly Instead Of
Mozart's musical champagne. he served liquid
which had the huidity and effervescence of mo-
Iasses in January. and instead OF the merCural
barber we had GurnemanZ numbering the floors OF
n Spanish counts palace. Mr.. Nahan Frankie
Quoted He held the orchestra together. and made
the music OF the instruments stick closer than "A
brother to the music of the singers But OF the
buoyant elasticity the ebullient joyousness OF the
orchestral score there scarcely a glimmeT
Let the record be completed Miss Bauermeister
took the part OF Marcellina, Signor ROssi that OF
BartoIo. Mr. ReIss that of Basilo. Mr. GiOrdani
Don Curzio. and Mr.. Dufrche Antonio