The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1904-01-18
"ATM0SPHERE"
!. !. j.. NOT |)'| LACKING
"PARsIFAL' IN NEW YORK AS
HEARD BY WM.' M. CROSSE.
The Minneapolis Pianist Says the New
York Representation of Wagner's
. Great Opera Was "Grand''-Has
Never Been Surpassed and in Late
Years Not Equaled at Bayreuth. >

That the New York performance of
"ParsifaP' lacks the musical -atmos--
phere'' provided by Frau Wagner at
Bayreuth, or that the performance
this side the sea is in any respect in
ferior, is disputed by William MentoV
Crosse, the Minneapolis pianist, VINO
has just returned from New York. An
Australian by birth, Mr.. Crosse,
whose mother was a German and who
was educated in the "fatherland," is
not prejudiced in favor of America,
but he says:
GAS to the statement that there was
a lack of musical atmosphere at the
New York 'Parifar-it's true and it
isn't true.
"New oYrk and Bayreuth cannot
and should not be compared. In for
mer years, to doubt, there was an ideal
in all the surroundings and an inter-
mingling Of colleagues during the
Bayreuth festival that words cannot
express. During late years it is gen
orally conceded that there has been
a different element in attendance and
on the other hand the productions at
Bayreuth have also deprecated.
Therefore the criticism is in a great
| measure out Of place. If a patron in
New York took, the scene he left on
| Broadway into the Metropolitan opera
house with him, his musical mind
| would not be in a condition to absorb
and digest this wondrous work. But
after the performance this patron
took 'ParsifaP out onto Broadway with
him, he would find that. sParsifap was
out: Of place; hence all outside envir-
ons and conditions are and should be
left behind by the sincere attendent at
this performance. It matters not in
what city or country he is! AS re-
suit he hears, he sees 'Parsifap and
'Parsifap only. In New York the au-
ditorium was darkened Gas in Bay
reuth), therefore wealth and fashion
attracted absolutely no attention as
you could not see the person sitting
next to you. The orchestra was hid
den from view Gas in Bayreuth) there
fore the movement of players did not
| disturb you and as for musical sur
roundings it was visible on the stage
and audibly surrounded you. It was
grand! and all I can say is, Bravo to
| the artists, thanks to Director Conried
and honors to the master, Richard
! Wagner!
Mr.. Crosse paid $40 to hear the
opera mystic, but he declares:
If my enjoyment could be gagged
by money, 1 assure you that I should
| willingly have paid $40 to have heard
another performance. 1t was the
unanimous verdict Of some Of the
foremost foreign authorities, musi-
clans, ana the cultured muSlcaI pup
lie in private as we'll as thru the press
that .ParisfaP was produced with 9
i dignity, reverence and a finish that
has never been surpassed and surely
in late years has not been equa1ed il
i the Bayreuth playhouses.
i But why shouldn't it have been:
There was Hautenschlager of Bay.
reuth in charge of the scenic effects
Anton Fuschs Of Bayreuth was the
stage director, who for twenty years OF
more has been identified with every
performance of the masters crown.
ing work. Hertz, one Of the creates
of Wagnerian conductors. and al
the artists, Ternina. Burgstal1er
Van Rooy and others, had a1read,
impersonated the parts allotted tt
them on the boards of the Beyreut1
festival. Unlimited capital was ex
; pended and best of all, an attendant,
| crowned the event that showed the ap
probation Of thefpublic for the gigan
tic undertaking of Director Conriet
and the management of the Metropol
itan operahouse.
: Speaking of the report that "Parsi
: fall will be brought to Chicago, MI
Crosse said:
II hope not: for it should be consid