The Indianapolis journal., 1904-01-24

ANTOINETTE lie BRUN
An Indiana Girl Now Prima Donna with
Savage English Opera.
women are consulting how they shall get
Tintagies out Of the room without waking
the sisters or Aglovale. One goes in and
comes out TO say that the boy and his sis
ters have their limbs closely twined to-
out %e go IN OTf The tfey SSy asS hsS
locks Of his sisters hair in his teeth All
three enter and when they return they
have the boy. Lengths of his sisters hair
are hanging from his mouth. He awakes
and shrieks as he is hurried along the
passage Ygraine rushes after with
lighted lamp in her hand. Bellangere
faints on the threshold.
The fifth, the last act. shows a huge iron
door beneath heavy, dark arches 1t is at
the top of the stair in the tower. The
women with Tintagiles have passed through
the door and it is shut tightly that 1T
seems cemented into the wall. YgTaine,
frantic and breathless, attacks the door
with her fists, crying, 1.-THE monster! The
monster! 1 blaspheme!
blaspheme and spit upon your Then she
hears Tintagies's pleading on the other side.
He has escaped from her and run to the
| door. He begs Ygraine to open it. They
are helpless. long, agonized dialogue
! takes place, ending with Tintagiles's
| scream "She has put her hand upon my
| throat" The fall of a little body is heard
| behind the iron door.
| What have you done? Give him
| back, give him back; for the love of God
give him back! I hear nothing more.
What are you doing with him!
- You are not hurting him, are you?
He is but a poor child. He is not
resisting. See, see i am not
EAII hot
| knees. Give him back to us, ! be-
| seech you! 'Tis not for me
alone you know that 1 will
so bad, You see. 1 have lost all
had. I" You must punish me some
other way. There are so many things
see. But this poor child has done
nothing. What 1 said is not true,
but die not know. L know well that you
are very good. You must pardon me at
| so small. You that it is impossible
- He throws his little arms about your
mouth; and God himself could not resist.
| You will open, will you not? L ask hardly
anything. l want him only for a moment,
1 did not have time. . He can pass
through next to nothing. 'Tis not
bic tie' Usilence)-"Monster! "s Monster! .
- l spit" (She falls and keeps on sob
| bing softly, with her arms stretched oot
| upon the door; in the darkness)
| The translation of which the preceding is
| summary was made by Mr.. w. f. APP
thorp in 1898. He was the programme an
notator for the Boston Symphony Orches-
ira. Mr.. Philip Hale, who now writes the
orchestra's s programme books, gives the fol-
lowing information about Mr. Loefflers
10
inally for orchestra and two violes damour
abbligate. 1t was performed for the first
| time at concert of the Boston Symphony
| Orchestra in Music Hall, Boston, Jan. s,
| 1898, when the two violes damour
played by Messrs. Kneisel and Loeffler.
| double bass clarinet invented and played by
Mr.. Kohl. formerly a member Of Theodore
| Thomas's orchestra, was then heard in pub
| lie concert for the first time. The SYM
phonic poem was repeated that season,
| March 19, 1898, with Messrs. Kneisel and
| Loeffier as the soloists and without the use
of the double bass clarinet. Mr.. Loefier
| afterward remodeled the score He took
| out the second viole d'amour part and les
| sened the Importance of the part taken by
the other, so that the poem may pow be
considered as a purely orchestral work. 1t
has been said that from a poetico-dramatic
viewpoint the music may be taken as de-
picting struggle between two opposing
on one hand and Tintagles and Ygraine on
the other. but it does not seem to follow
| out the drama scene by scene p"
| To add TO Mr.. Hales comment the recent
| New York performance of the work dis
| played 1t very consistent in instrumental
ton; much of it sounds as strange mono-
| tone varying in color. The vioe damour
| larger than the modern viola, representing
the boy Tintagiles, moves plalntively
| through the fabric. The climax is furious,
| but the conclusion, Ygraine sobbing before
| the door, is almost too long-there is al
| most an anti-climax. The new school,
| of composition is not fertile melodically
| however truthful in description it may be,
and Mr. Loeffiers work is no exception to
| Wagners music-dramas. Mr.. Maeterlinck's S
play is skillfully novel, and so is Mr. Loef-
fer's composition. Neither is happily in
| spring, but both interesting in this
day, when account must be taken of ev-
| everything
Miss Marguerite Lemon, of Indianapolis,
who sang in light opera in New York few
years ago, and who since has been studying
grand opera, came forward at the Metro
politan Opera House successfully on last
Monday evening and sang the bird music in
the production of "Siegfried." Mr.. Krehbiel,
of the Tribune, wrote OF her: Miss Mar
guerite Lemon sang the bird music charm
ingly." Mr.. Henderson said in the Sun: "A
new voice was that of Marguerite Lemon,
who sang the music of the forest bird with
a full, round tone OF excellent quality and
sufficient power, with fiexibility also, but
without a very clear enunciation of the
| text" HORACE LANCASTER.
day. and say. Do thus and So and they