New-York tribune., 1906-12-20
NJ WUSIC.
METROPOLITAN OPERA HOUSE.
Wagner's ''Lohengrin. "

representation OF "Lohengriu'' at the Metro
politan Opera House. which began so well as 70
promise evening of keen enjoyment, was ruoely
interrupted by the circumstance that Mr. Burr1an
grew hoarse before the opera was half finished and
had to yield the role to Mr. DippeL The substitution
caused the loss Of so much time that it was found
necessary TO omit the scene in the bridal chamber
Announcement made OF the change and It's
reasons after the second act by Mr.. Max Hirsch
behalf of the management. and indulgence was
asked for Mr.. Dippel. who undertook his task
without preparation But Mr. Dlppel Is the most
wonderful OF Operatic tenOrs; there Is probably
tenor role in Mr.. Conried's German. French and
italian repertory which he cannot I'LL at moments
notice. There compensation. moreover for the
disilusionment caused by the change in the repre-
sentatOn of the operas hero in the extremely fine
performances Of Nine. F1eischer-Edel. Nine Kirk
by-IIunn Mr. GOritz, Mr.. Blass and Mr.. BTuhlmann.
as excellent an ensemble the opera has had to
show for a long time. But the interruption OF the
opera sent home hundreds who could not stand the
disappointment.
'Iohengrin'' is an opera which is so prone fall
into the rut OF perfunctory and conventional per-
formance that it cries loudly for revision in all
its departments every season or two the world
over. It has evidently been newly taken in hand
at Mr.. Conried's establishment. result OF the
coming OF representatives OF three Of its char
acters a new stage administration, and possibly,
also, OF the opposition OF the new house in 3sth
street There were evidences OF spirit in the
stage department, spirit for which Bayreutn
must have credit IL MANIFESTED user In Ihe iIIO-
dUctiOn OF some details In the pictures and the
action which added dramatic veTisimiitude and
animation. to the first act especially. The
stage furniture not new. and the costumes
those which Mr. Conried adopted along with
many other managers who thought something
necessary to refuroish an old opera that deserved
we'll because OF its long and strong hold on the
affections of the public, when the operatic anti
quaries hit upon the idea OF making the operas
dress fit the fashions of the century when the
veritable Henry the Fowler lived. The desire for
tTuthfulness stripped the work OF some OF its
theatrical gorgeousness but worked harm In
the acting Of the singers there also interesting
the intelligence which seems gradually to be com
ing into life by reason OF study Of the poets book
OF the play. Again we had a Iohengrin who struck
his opponent TO the ground in the combat instead OF
overcoming him by exercise Of hypnotic powers.
small matter. perhaps. but something TO win the
gratitude Of all opera lovers who believe the poet
composer entitled have his purpose carried out.
II must be confessed, moreover. that however much
might be said for Mr.. Burrian's voice and vocal
method before his disablement his impersonatfon OF
the soldier Of Monsalvat not so infused with the
poetic and imaginative element TO make the rudsr
means OF overcoming his enemy unworthy OF
him. II would require acute eyes than those
that gaZed him last night perceive the celestial
aura enveIoping the Knight Of the Grail as Mr..
Burrian embodied him. Nine. F1eischer- EdeI's
impersonation of the character OF Elsa "a most
winning in conception and execution She is youth
Hul in appearance her voice has the ingrstfatins
freshness OF innOcency. and in song and action
she calls UP pleasant memories 81 Nine Seidl-
Krauss in the character in the first wears or the
German regime at the Metropolitan. Yet the domi-
nant personality in the performance was Nine.
Kirkby-Lunn's Ortrud. truly and equally large.
tragic creation in both it's histriOnio and musical
phases. H. f. K.