The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1904-04-04
At St. Paul Theaters

creations exclaim upon hearing the
TWO acts of the masters "Parsifal,"
winch were sung and played at the
MHetropoiitan opera house last night by
it's orchestra ~
Tnose who came to hear voices sing
melodies, to the accompaniment of
strlngs, wood winds and brasses. were
disappointed. This is equivalent to
saying that 'Parsifal'' in concert form
rather Wearied the majority. But those
more advanced in their appreciation of
music, for music's sake, those who de-
tected the beauty of every instru-
mental note from the first violin to the
KettIe drums, enjoyed a feast They
uIu not miss the action, the costumes
the scenery the environment such an
allegory must needs have in a stage
presentation. For them the music con-
Jured up the emotions and the pic
lures
But the mere layman, unable to gain
sustenance from intricate refipements
OF orchestral combinations, deaf to the
subtle development of a theme in
many and devious ways" as incapable
OF approaching the rare achievements
or counterpart as is a child of Jug
Cling with logarithms-hung for
melody and for harmony between the
SoIolStS and the orchestra. 1t was
there to the trained ear to the student
or Wagner in general and of "Parsifal'
In particular, who has learned to an
tc1pate and love every wall of the
violin, every lament of the cello, every
soft note of the French horn. every
triumphant and glorious outburst Of
the resonant trumpets. To such an ear
this revelry of music means some
thing. To such an ear a single human
voice is but a part, and small part,
of the wealth of music. Without ac-
ton, scenery and costumes to tell the
story and enthrall the vision, how
unsatisfying is it bound to be to the
ear unattuned to the refinements and
subtleties of the score and the mind
but freshly made acquainted with the
theme of the composer!
1t is true that Elliott Schenck, who
ably conducts the Wagnerian compost
lions for Mr.. Savage, related to the
audience in simple language the story
of "Parsifal." He explained the vari-
Gus motives-the march motive signal
izing the march of the knights to the
castle of the Holy Grail, the motive of
the Sacrament, the motive of Faith,
the Grail motive and the motive of
Peace. To impress them upon his hear
ers Mr.. Schenck played the simple
notes upon the piano, introducing just
enough of the harmOnies to give them
color. Then he said he hoped the au-
dience would recognize them, when
they were repeated by the orchestra
and singers. Some of them doubtless
did, while it is extremely doubtful if
others remembered the tune" with all
its ornate embellishments and it's
wealth of varying harmonies.
The orchestra of forty-five pieces
occupied the stage, with the chorus of
women and men seated in the rear on
raised platforms, the men behind the
women. The principals, Messrs. Shee-
han, Golf and Bennett, were seated
in front. Each stood as he sang.
The only semblance of melody, in the
fined to the choruses. Their sublimity
appealed to all with particle of mu-
sic in their souls. AS for those with
out it, if any such were there, the i'm
mortal bard long ago declared them
fit for treasons, stratagems and
spoils."
Too much praise cannot be bestowed
upon Director Schenck for his mastery
conducting. The pianissimOs of the
chorus, which numbered fully sixty
voices, were admirably sustained, the
tone firm and true and expression rev.
erent, as becomes the music. The Or
cheStra played with uncommon pre-
cisiOn and delicacy those ethereal pas
sages that transport the nearer above
the thick atmosphere of the work day
world, and executed the climaXes with
compelling power and spirit.
Mr.. Sheehan sang Parsifal, Mr.. Golf
Amfortas and Mr.. Bennett the roles of
GurnemanZ and the voice Of Titurel.
The selections were from Act |. and
Act III. The first act comprises the
march to the grail and TRANSFORMED
ton scene, THE Sacrament" "Amfor-
tas' Lament and the finale. and the
third act the Good Friday Spell" and
finale.
Mr.. Bennett, in the two roles, was
oftener on his feet than either Mr..
baSsO cantante voice was in excellent
condition, and he acquitted himself
most creditably Of a very eXacting
task.
Mr.. Goff's singing of "Amfortas' La
ment' was a highly cOmmendable ex-
hibition of artistic vocalization. His
ease, finish and tone production in the
most dramatic passages stamp him as
an exceptionally accomplished artist.
Mr.. Sheehan's allotment was not as
extensive as those who admire his
remarkable tenor could wish. 1t was
confined to the last act, the scene in
which ParSifal discovers his mission,
goes to the castle and heals the wound
of Amfortas. His vibrant voice rang
out resonantly above the orchestra in
the finale.
'ParsifaP' was preceded by a con-
cert programme in which Miss Ger
trude Rennyson, Marion Ivel, w. A.
Wegener and Remi Marsano contrib
uted solo numbers. The orchestra
played two Observation-Disclosures "Kai-
ser March" and Gillet's Entire Act
Gavotte,' and Misses Jean Lane Brooks
and Rita Newman, and Messrs. Shee-
han, MarsanO and Fulton sang the
quintette from die Meistersinger."
Miss Rennyson sang the soprano solo,
"Hear Ye Israeli from Elijah with
splendid expression and purity of tone,
and declined an encore.
Miss well sang the contralto ariosa
from "The Prophet with such dramatic
fervor as to compel her to repeat a
portion of the composition.
Mr.. MarsanO, baritone, sang "The
Earl King far from effectively. Some
of his tones are painfully uncertain
unmusical is a more expressive word.
The quintette was admirably sung.
F. G. H.
Jakobowski and Paulton's "Erminie"
has proved one of the most popular
comic operas Francis Wilson, of
course, had considerable to do with its