New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-03-06
MUSIC.
BIzET'S CARMEN"

Another opera, which. like Martha" would have
been gladly welcomed earlier in the was
brought out at the Opera House last night It was
Carmen" Some years ago IT seemed as II all
proprietary rights TO Bizet's opera belonged to
Nine. Calve- There was gradual change IN the
attitude Of the judicous when the popular enthus-
asm got into the artists head and turned it so
completely that she forgot all dramatic and musical
prophecies and made the role the vehicle of her
momentary whms 10 the utter destruction of the
dramas strength and charm. There was beauti-
ful illumination when Miss Fremstad came forward
IN the opera last year; but the light was not far
reaching. Last night II seemed TO have penetrated
lurlher, Tor the opera was greeted with superb
audience. But II was only seeming II was a Mon
Gay night. for one thing. and Caruso first ap-
pearance. for another. Under such circumstances
II Is olncult to measure how much of last nights
demonstration OF interest and approval due 10
the restoration OF the opera and its most admirable
titular representative and how much to the social
show and the desire to hear Caruso In music not
sung by him heretofore But the questions OF
small concern
Carmen" had fine representation In the hands
Of Miss Fremstad its heroine recovered of the
characteristics with which the author originally
invested her. The loose-lmbed. loose minded wan
ton was again in evidence. more persistently and
consistently IN evidence, indeed. than she was on
that memorable first appearance of Nine. Calve.
when it seemed for brief space If the police
might properly be called IN to give the warning
which tradition says once uttered 60 CALI
Marie. the original French representative Of the
character Miss Fremstad has formed strong
notion of the dramatic elements in her part, and
has elaborated series details TO illustrate their
development from the beginning TO the end. In
nothing that she has done is she more comprenen-
sively artistic
Some OF the dramatic blood which courses hotfy
through the opera seemed for moment to have
got into the brains Of Signor Caruso in the second
act. He had sung the romance with compelling
fervor and fallen on his knees behind Carmen. sulk-
ing at q table Then came the applause. 1t sprans
UP, sweed like a tornado, then died away as II
a sudden intellectual awakening had brought the
thought that the dramatic situation had reached
a point where Don jose should get up and I'LL
himself again with the emotions of which he had
Just rid himself. Even Sgnor Caruso seemed TO
have come 10 realization of the obviously proper
thing But the devotees of his voice began the
plauoits again Now there Were Kisses. Again
the applause and. though the Kisses were redou-
bled, the strain was too much for the tenor He
put aside his attitude OF pteous. desoiate suppl
cation rose acknowledged the applause, and re-
turned to weep on Garments right shoulder blade.
The hunor of the new situation seized upon the
audience, then spread 70 the stage. and dramatic
illusion had taken wings.
Miss ABBOTT sang the music OF Mcaela with a
tiny voice. which sounded If terrified by the
spaces which it was asked to FILL but yet enlisted
warm sympathy by it's pretty quality. its tuneful-
ness and the intelligence back OF It Miss Abotts
stage instincts most commendable, but me
material at her command is frail. II. E K