The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1905-03-24
THE DRAMA
By r. G. Hunt.

Richard Wagner's immortal festival
music drama, "Parsifal," was revealed
Mt the Metropolitan opera house last
evening in the presence of a large
gathering. That it deeply impressed
every beholder, whether susceptible to
the rich and eloquent music that illum-
mates the drama, cannot be doubted.
1t appeals most potently to the sense OF
reverence for some higher power, which
dwells in both child and man born of
woman. 1t is typical of the instinct of
worship, and glorifies the virtue of
self-denial, of sacrifice, and aspiration
for the noblest ideals that bear no kin,
no worldly ambitions. And these emo
tions of the higher nature, if it may be
so designated, are intensified by the
symbolism with which this remarkable
drama of the soul is replete.
First and foremost "ParsifaP APP
peals to the ear, even though much or
its music is SO intricate and profound
that the average auditor drinks in but
a small proportion of its SURPRISING
beauty. For, truth to tell, the orchestra
tells the story: 1t dominates. 1t plays
those compelling, absorbing themes
that in their very melody and exquisite
harmOnies seem to inspire the action of
the characters.
Wagner of all composers created the
music that expressed the extremes of
all emotions, from the ecstacy of love
to the fiercest of hatred, from blazing
hope and joy to the depths of despair
and misery. With such a theme as
this, the legends of the Holy Grail as
ISOLATED so closely with the life of the
founder of the Christian religion, with
q hero typical of the Christ tempted,
but steadfast amid great suffering, it
is but natural that the superb genius
of the great composer grew with in
crease of appetite by what 1t fed upon"
If it be possible that the majestic
music of this master fell upon a single
deaf ear in last evenings audience,
surely the stage craft that marked and
elevated the production must have
claimed the admiration of every eye.
1t was afreVelation of scenic splendor,
characterized by rare taste and har-
mony. The panoramic transformation
from the forest in the Gratis domain
to the interior of the temple of the
Holy Grail, was in itself deeply i'm
preSSiVe, while the ceremony of the I'M
yelling of the Grail accompanied by in
finite light effects and a wealth of rich
and inspiring music imparts a re-
ligiouS atmosphere and casts q spell
over the beholders that seems sacred.
This scene, both in the first and last
acts, left a deep impression upon the
spectators. In the first act Parsifal,
1.-The pure fool" witnesses the unveil-
ing of the Holy Grail and it's elevation
by Amfortas, but understands it not,
and is driven from the temple with
contempt by Gurnemanz. 1t was here
that Johannes Bischoff, who imper-
sonated King Amfortas, profoundly i'm
pressed all. He sang beautifully and
acted with much intensity and feeling,
denoting the remorse and suffering of
the king who had sinned, and whose
wound refused to heal, with convincing
fidelity to nature.
The second act transports the spec
tator to the dominions of Klingsor, the
malicious magician, typical of the evil
one. Here Parsifal wanders and is
tempted by the beautiful flower maid
ems. They surround Parsifal and seek
to allure him with all their blandish-
mentS, but he repelS them. The theme
of their chorus is seductive and melo-
dious to rare degree, and is sung
with uncommon expression, dramatic
as well as musical. But the pure one
remains steadfast, and then Kundry
Is sent by command of Klingsor to lure
him. He nearly yields, when she tells
him of his adored mother, but her kiss
recalls to him the sin of Amfortas, and
he repels her advances. Then Kundry
calls Klingsor, and the magician hurls'
the sacred spear at ParSifal. 1t stops
in midair over his head, and the youth
seiZes it, and cries:
Nov by this sign destroy 1 thy en-
chantmenti"
AS he makes the sign of the cross
with the sacred spear, KlingSorS castle
falls into ruins, the garden withers to
a desert, Kundry sinks down and Par
sifal hastens away. This is the most
dramatic situation in the drama, but
not as impressive as that in the temple
of the Holy Grail in which Parsifal
heals the wounds of Amfortas with the
sacred spear.
The role of Parsifal was played by
Alois Pennarini, a man of stalwart
build, and of dramatic instinct, albeit
his voice did not exhibit marked mu-
steal quality. He was most effective in
the last scene of ALL in which he ele-
Yates the Holy Grail.
Just before the curtain rose on the
first act it was announced from the
stage that Mime. Kirkby Lunn, owing
to illness, would be unable to appear
and that the role of Kundry would be
assumed by Nine. Hanna Mara. A
murmur of disappointment greeted this
announcement, but Nine. Mara proved
SO efficient in the role that the change
was soon forgotten.
The role of Gurnemanz, the veneer
able patriarch, was admirably acted
and sung by Putnam Griswold.
STATE INSTTI ITlnNS