New-York tribune., 1906-12-15
MUSIC.
MANHATTAN OPERA HOUSE.
Bizet's Carmen


OF the vital elements of Bizet's Carmen. both
musical and dramatic. which thrilled and startled
an audience familiar only with the sophisticated
version which the vulgar but pathetic tragi-comedy
has had In this city heretofore Only once In New
York was an exposition made through which the
dramatic blood coursed hot and red and torrentaliy
as 1t did last night but then the performance was
rude and crude muscally. and It was only the
fidelity OF the action TO the conceits OF the novelist
who created the story the brettists who turned IL
into an opera book. and in lesser degree the
composer who gave It musical investiture, which
was admirable. That was two years ago last March,
In a season OF French opera by NJ Charley's New
Orleans company. which endured three whole days
at the Casino. Thanks to the impersonation Of
Mime. Bressler-G -Gianon. however. the memory has
endured till now IN the minds OF the critical re-
viewers, and had lively renewal last night Nos
only the character Of Carmen. but the drama ITSELF
has been clothed and In way refined to death
Since the days OF Minnie dauk II has been We
hicle chiefly for the display of gorgeous costumes,
arch coquetries and pretty petulancies. Nine. Tre-
belli first showed Of its sinister sides. which
was that which Idl Lehman sought TO ap-
proach II when she introduced herself and the
German version of the opera simultaneously to the
metropolitan public in 1885. But Fraulein Lehman
was then statuesaue woman. with a bearing
which continually suggested the influences of the
Prussian capital whence she came to us. and the
way In which she and Mr. Seid1 phlebotomized the
music might well be a subject when the
solemn humors OF the German seasons
at the Metropolitan Opera House come to be writ
ten After her, passing over many feeble imita-
tons of Miss Hauk. who set a fashion whicn
lasted till Nine. Calve came. Nine. Patti made
single essay In tho part 1t was In special ltaian
season in April 1887. and quite woful was the
effec. upon the reputation of the greatest singer
CQua singer of her generation piquant little
personality was Nine PATHS Carmen, and an
amable IN It's playfulness. but world
separated It from the creation Of the operas
authors As 1t came from her wondrous
throat the music had neither distinctive body
spirit When Nine Calve gave her presentment
IN December, 1893. New Workers. enjoyed their first
revelation of the character it seemed to have
lived in of It's elements IN the imagination OF
Prosper Merimee-a woman thoroughly wanton and
diabolically equipped with such wicked witcheries
explained. IL they did not paiiate. the conducs
OF Don Jose Here we had woman without con-
science but also without the capacity for even a
wicked affection; woman who might have been
the thief that the novelist describes. who surely
carried dagger In her corsage and who In some
respects left absolutely nothing 10 the tmagnatlo
to which even drama like this ought to mako
appeal.
Reviewers were at loss for any impersonaton
to set down its prototype parallel except
the stored of the original creator of the role.
of whose realistic acting the Prefect OF the Seine
was compelled TO take notice. Blu. Nine Calves
admiration for her own beauty was stronger than
her devotion any artistic ideal, and IL was not
long before her Carmen became completely merged
In her capricious personality. Nine.
r-GtanolYs impersonaton, though witnessed
but once put all its beholders out OF
conceit with the great metropolitan favorite and
paved the way for that large measure of ap-
probation given to Miss FTemstad when
she bodied forth her conception under the au-
spIcas Of Mr.. Conried. Last night that impersona-
ton was repeated without loss of any of its essen
tial strength and beauty. Amid surroundings
which fairly rivalled when they did not outdo
those with which the patrons OF the lyric theatre
IN upper Broadway are familiar. she adhered 70
all the features which aroused admiration amid
the modest surroundings OF the Casino. She
dressed tho character as It ought to be dressedi
she upon the stage as Merfmees heroine
stepped into the novelist's pages: "Poising her
self on her hips like flly from the Cordovan
stud" In the second act. like Mme Calve. but
with fine stimulation of Inconsistencies, she
seemed every moment about to break into one of
those dances which the satirist csstgated IN ths
days Of the Roman Empire:
Nee de Gadbus improbis puella
yibrabunt sine sine tIHePS fine PruFien1ss is,n1ss
II was the apparently unstudied naturalness of
her movements which kept them alive with beauty
and free from offence. And thence she developed
the passion and tragic vehemence OF the character
steadily till the grewsorne end She Is not great
singer but she Is a dramatic one. and her voice
and diction kept perfect time with her plastic and
inspiring delineation
Nine Bressler-Gianolfs conquest OF the audi
ence complete. but she was not a4ohe III mex
triumph " Dalnores. the tenor. shared II equally
with her and with NJ. Gilbert Oancairo) helped
TO put the French stamp, the characteristic dra~
matte physiognony upon the play and its true spirit
into the music Signor Ancona. with vocal powers
adapted to the part of Escamillo. put a somewhat
ITALIAN infusion the music but without serious
harm; but Signor Campanini made MS orchestra
sneak the idiom of Bizet and speak 1t eloquently.
u u,os sItosether a remarkably fine performance
and loosened babel Of excited comment In the
corridors after each act H. Il ~