New-York tribune., 1905-12-31
MUSIC.
"Lohengrin" at the Opero.

s'Iohengrin'' had its first representation at the
opera for this season yesterday afternoon For the
statistician the representation had some measure
of interest from the fact that it the 131st which
the walls of the Metropolitan Opera House had
echoed to- to the collector of critical cur!osa it
presented itself as in its choral elements unques-
tionably the most cacophonous performance on
record in New-YorI. Inasmuch as it is nearly
thirty-ffve years since the opera first heard in
New-York dt was the Stadt Theater. in the
Bowery, on April g. 1S71 perhaps a conscientious
chronicler ought not to be positive in state
ment of this character, but it was beautiful spirit
and a jealous which prompted the earliest per
formances by the German Mesdames Lichtmay and
Frederici and Messrs. Habelmann, W. Formes and
the choristers of that day 0argely recruited from
the amateur singing societies). under the direction
Of Adolf Neuendorff. and are inclined to venture
little the statement.
Should any reader be a stickler the laws OF
evidence however, willing to modify it thus
far-it the most cacophonous performance in
twenty-five years. Not year. month, week or day
will we yield more Reviewers and public have
long since ceased to expect the short choruses TOT
men in the first sung in tune. for they are
for several cogent reasons, difficult OF correct IN
tonation: but these were worse than usual yes
terday whereas the prayer ensemble, which offers
smooth sal ling went so wofully to the discordant
bow-wows that when it ended there came murmur
of half indignant. half amused comment from the
audience like the rustling OF autumn leaves IN the
wind. Were the chOrISter5 Striking loI ilSH0-
was ges end a lower pitch? asked the wits: would
thew not both come to an agreement with them
selves and the orchestra, instead Of seeking union
with affiliated hod-carriers and trucknen?
The chorus has much to say in "Lohengrin, and
it was a difficult matter to bring back the per-
formance to an artistic plane after the rude JOLT
of the first act Mr.. Knote and Mr. Hertz ana
his orchestra Iabored herocally to that end. but
they needed more help than they got uniformly
from the principal singers Nine. Rappold VINO
has won more than kindly interest for her sing
ing in THE Queen of Sheba.' made her first essay
in the role of Elsa. is about the only role. cut
side Of Icaela in Carmen in the list usually
current at the Metropolitan Opera House. in which
the judicious thought she might repeat the pretty
triumph achieved in Goldmark's opera. Her sweet
virginia. voice, her modest, maidenly bearing. com
mended her convncingly for the part But 1t was
felt that success in a first attempt would require
peculiarly finished gentle and poetical co-opera-
ton of all the other elements in the performance
This was not vouchsafed her.
Even Mr. Knote fell into the general untune-
fulness in his first address the swan. but
things were already at skies and sevens. and the
defect would have been soon forgotten If the evil
spell had not continued to work till the fall OF
the curtain on the first act. After that he was
thoroughly admirable and conscious of his duty
toward book and score that he restored the long
neglected dramatic propreties in the combat so
far to fetch a resounding blow upon Telra-
mund's shield and thus to fell his opponent in
stead of conquering him by supernatural power.
That significant bit Of action frequently urged by
this journal had long ago been despaired Of But
If Mr.. Knote than capable and delight
fully ear-flling in his part Miss Weed, Ortrud,
was neither, and NJ. Journet. as the King, and Mr..
Gorttz, Telramund. though they injected no
dissonant tones did not contribute much to the
requisite plane of refinement. Nine. Rappold was
left pretty much alone to work her artistic sal
walton. and 1t was not done without fear and
trembling. She felt her way through the first act.
singing with few signs Of dramatic vitality and
frequent deviations from the pitch The chaste
charm Of her voice and appearance were all that
she offered. Later warmer dramatic accents came
10 her aid but also unsteadiness Of tone, which
her friends must hope will depart when she grows
more confident Of herself and receives better sup
port from her colleagues. H E K