New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-01-01
MUSIC.
FAUST" AT THE OPERA.

The patrons of the Metropolitan Opera House
last night made the acquaintance of a new Mar
guerite, at once the youthful. the most limo
cent and the most sophisticated that they have
ever seen. 1t the first performance of GOunod's
faust this season. and besides the Mar
guerlte there was new Faust, a Valentine,
new scenery and some new stage business TO fit the
new conception of Marguerite which Miss Far
rar brought TO notice II was in MANY
things beautiful conception. In others one
that suggested the strange processes which are
at work In Berlin and tending to make the
Grand Opera in Paris school for decorum. We
have had Marguerites OF two sorts as a rule here
tofore; those who followed the traditions fixed by
Nine Mioian-Carvalho and the pictures of AIRY
ocheiLer' ana those who came with infusion
OF German blood and tried to embody as much as
possible of Goethe's Gretchen. OF the former Mime
Nilsson was the exemplar whose memory is not
likely to fade out until the generation that knew
opera at the old Academy of Music Is dead. This
Marguerite was too much OF the time grande
dame, perhaps, but she embodied the ideal
which seemed to have been before the minds
of Barber and Carra, and she certainly
gave voice TO the spirit we'll as the
substance of Gounod's music like none of her fell
lows. Nine. Lucca more successful than most
OF her rivals in giving Marguerite that element Of
simplicity and rusticity, not to call it coarseness
which is an integral part of Goetha's Gretchen.
Goethe. we know. copied the character from life
The real Gretchen, who played a part honorable to
herself, but humiatng to the vanity of the poet,
sS no was quite Wiling 10 CONFESS IN later Tie,
was n serving maid in house where the youthful
Goethe mingled with society much lower in the
social scale than that into which he had been born.
There is much of that original maid I'm Goethe's
drama, but little in the opera book. and none in
the music which GOunod has put into the mouth OF
Marguerite After Lucoa saw Gerster and
Lehman, who thought much Goethe
while essaying Barber Care and Gounod. Then
came Nine. Calve. with her fascina ting innovations,
the product OF an original If somewhat cratic
fancy. but which exercised irresistible charm.
In its freedom from conventions its wealth of
suggestion its beautiful facial reflection thought
and emotion. Miss Farrar recalled Nine Calves
performance, without copying a single nuance of
the elder artist in action song. 1t wonder
fully winning in it's righteousness at the outset and
startling in its Lcneation of her sudden surrender
to passion in the garden scene. Here she fatty
cOntrRdicted the conception of the German poet,
and only anticipated the French lbrettists' eli
max but raised it 10 intensity which they never
dreamed of. This Marguerite did not throw herself
into the arms OF her lover in the ecstasy of the
love which she proclaimed to the breezes and odors
Of the night she hurried 10 open the door TO him
and sank down before him in utter lassitude. The
picture presented by Miss Farrar at every stage of
her development of the character beautiful
beyond comparison. and she the personifcation
OF grace and loveliness in all things except her
song. At the outset her voice sweet and
lnpid, but her vocal shortcomings came to the
fore with the growth of her tragic pathos. and she
quite spoiled the jewel song by injecting a laugh
into it wholly dissonant with its character. But
hers is n performance worthy Of study. much adj
niratlon and calling for grief.
Mr. ROusselieres Faust is not out OF the con-
ventions. and he sang passionateIy. If not always
well. for he could not any more control his unruy
voice than Mr.. Straccari could his palsy shaken
organ. H. z. X.