New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-01-28
MUSIC.
MOzARTS DON GIOVANNI


else commendable. It is the oldest opera in the
Metropolitan list and like other old things on the
dramatic stage IT get along without beauty
Of external and material investiture. its spirit
be declared in the representation. Those who
know II and love II would gladly listen 20 ~ with
out a single At scene to its back n only the
could be made 70 reflect the purpose which II
had when II sprang into the inspired mind OF It's
creator and body forth the beauty and dramatic
fitness Of which II is the perfect vehicle Mr. Con
ried gave us only the externals lovely pictures
which only served 20 emphasize the paucity and
poverty OF the performance. He set Up a pornpous
picture OF the interior Of Don Giovanni's palace
put musicians on the stage and made an attempt
10 bring out unsteady the effect OF the combination
Of three dance rhythms. but stopped there
as II in utter ignorance Of Mozarfs purpose in
this daring invention. That the gentry among
the nobemans guests should dance the minuet
TO the music OF one band. the peasantry dance
contradance into which the nbertne should lead
Zerlina to the music OF another. while LspOrello
forced the unwilling Masetto into '-Teitsch''-as
Mozart wrote into the score-tO the music OF still
another band seems never 70 have occurred 20 the
persons responsible for the really artistic element
in the representation
Mr.. Conried also introduced a new scene for the
finale After Don Giovanni had given his hand
pledge to his grewsome visitor the statue disap-
peared Amid the writings OF the dying wretch
there fash of lightning. crash Of thunder.
the palace crumbled into ruins; hrs burst from
the floors. and through the clouds OF smoke there
appeared vision OF the churchyard OF the preced-
ing scene with the statue calmly posed upon It's
pedestal This was large Improvement on the old
tabeaU Of angelic hosts reaching upward. which
always made wonder II they we're the souls Of
Don Giovanni's victims beokoning him TO a better
land. but where It's dramatic Justification
Why should the palace go to wreck?
II IS a long time since last saw the red devils
carry OF Don Giovanni in 1Sew-York- and the mem
DRY Of living ooeragoers does not extend back
10 the time when the original finale was used We
have been content, like our English cousins whose
manner Of operate production we have followed
more or less slavishly for three-quarters OF cen
tury take the tragic view Of the and accept
the Hbertlne's punishment as a At conclusion fo-
the opera The reverence which the Germans feel
for the genius Of Mozart, proclaimed IN the
scene between the statue and the Don. however.
has kept them occupied for generation or more IN
constructing new nales, designed 10 be IN keeping
with the tragic end. Unfortunately they have been
Handicapped by the want Of appropriate music. but
fortunately they have tried 10 supply the want
with new music themselves It is easy 20 talk about
the simplicity and emotional hollowness OF the
eighteenth century classics I'VE all know the com
poserliug who would scorn to write Haydn or
Mozart sonata. though he could do II in hour.
but it has been found quite impossible TO produce
anything worthy Of being listened 10 in the style
OF that music. They have turned 70 all sorts Of de-
vices IN their dilemma. without finding their way
out.
One reviser Of the opera went so far as 70 add
a scene in the chapel Of the cemetery in which
the conmandant lies buried. treating the audience
10 a portion of requiem mass celebrating for the
reposs Of the soul Of that worthy and using
Mozarts music But this changed theatrical
diversion into a religious function, and could not
serve Under the circumstances the obviously
proper solution would 70 be TO give the finale
written by Da Ponte and Mozart. With the re-
vision which is necessary. not 50 much 10 make
the opera conform TO the conventions OF to-day
to restore the original version scenically. dra-
maticaIly and unsteady. the work would recover
large measure of its old charm. II is much
feared however, that the music OF the old finale
would command little respect after the tremendous
" dramatic measures OF the scene between the
ghostIy statue and the dissolute Don. But IL was
never made palmer than it was yesterday that
something must be done 10 make the drama hang
together and come 70 some sort OF a conclusion
ZerIina led Masetto on after singing Of the pretty
Inducements which were 10 heal his bruises. ano
that was the end Of her; Don Ottavio remained on
the scene for a space after it had been deserted
by the others. and in the interpOlated aria.
II milo tesore intante." proclaimed his intention
to hasten TO Donna Anna and dry the tears upon
her Iashes; exeunt Don Ottavio left; no more
was heard Of him. Enter. centre. Donna Anna with
a letter from Don OttavO. charging her with cru
city in not loving him longer; prorestaons recita
two and Larghetto, major; invocation OF heaven,
Rondo. allegretto moderate. same key. appeal for
pity, takes her everlasting departure. Don Clio
vanni at supper, Donna EIvira conjures him 70
pent. sees the approaching statue. screams in A
fiat and-no more OF her. Here, surely is raw
eIed sleave which ought 70 he knit up II there is
to be another end than general dramatic sus-
pensou- Da Poute wrote a dramma giOCOso and
wound UP matters with careless heart He drew
a picture Of the Don wrestling in futile despera-
ton with a most OF spectacular devils. and finally
disappearing down a trap. while fire bursts out on
all sides the thunders roll and LepOrello views the
whole scene from place of safety under the table.
Then back come all the ladies and gentlemen con-
cerned IN the play except the commander. hear
the story Of the rake's tragic taking Of line up
the footIights and moralize for a
Questo I'm d chi IA nal.
de- Perhdi Ia morte
That is to say: Thus the end OF evldoers; FOR the
perhdious death and life are one.
But. a truce 70 such discussions What Don
Giovanni needs is revereut treatment OF its dra
matte and musical contents. Intelligence on the
part OF its conductor and stage manager; devotion
and ability the part OF its performers: careful.
prayerful and Informed rehearsals. many or them.
No opera in the current list needs good singers as
this does. Yesterday those who seemed both to
know how and 10 able 10 meet its demands were
only three, Nine. SemhriCh. Mr.. Scott (whOse per-
Torrance from first TO last most admirably
and Mr.. Journet. Nine. Nordica knows what the
part Of Donna Anna demands. but yesterday she
could not meet the requirements. In years agone
she won fragrant guerdOns by her singing Of the
music set down for Elvira- When with Lehman.
Sembrich Maurel and Edouard de Reszke. she took
mart in the performance Of I'm 1892 she wrote
her name high on the roll Mozart singers For
Donna Anna she lacks the majesty of style.
the tragic passion. the volume Of voice and
the breath. Nine JomeUi who essayed the part
Of Donna EIvira. knew an OF her airs. and sang
them I'm part with beauty of voice and finish.
though not with comprehension OF their true man
ner: but she was unfamiliar with everything else.
even the words and music Of the part In the last
scene and did much 20 help make miserable end
,4f7 H~r-r LATTE