New-York tribune., 1907-11-21
MUSIC.
METROPOLITAN OPERA HOUSE.
Boito's "Mefistofele. "

Inc seals of the Second Book of Faust were
DioNen at the Metropolitan Opera House last night
as mas dIIeaoy been 1ntimated, 1t is to be a Faust
year at the opera houses Berlioz Boito and Gounod
are 10 rule the hour, with their various efforts to
use fragments of Goethe's great dramatic poem as
stalking horses for their tunes. At the end most
IlAey Gounods opera will prevail as it always
mas Dut meanwhile the public will enjoy the spec
lacIe OF the representation Of Mephstopheles occu-
PSIHs Ile centre of the stage. It was so when Mr.
Hafnmerstein brought La Damnation de Faust
forward IN the first week of his season; It was so
iaS' HIsHI IN a tremendously exaggerated degree.
"heh MI COnried produced Boto's 'Mefstofele"
IN order TO Introduce NJ. Chaliapne. the Russian
who has made a speciality of this character Per-
maps there is justification for this in the case
OF Bolto's opera, since the author chose to make
the devil his titular hero, although he tried at
the same time TO cover more Of the German
poets philosophical scheme than any composers
before him except those who wrote music for
the drama itself. But 1t will remain a ques-
ton among the admirers of BotO as we'll as
among the admirers of Goethe. whether or
not the spectacle presented at the Metropolitan
Opera House last night is calculated to advance
the public in appreciation of either of the art
works The newcomers impersonation of Mephis-
topheles is startling in it's picturesqueness. and
would make gaudy picture book for children: but
with Coethes conception this particular devil or
even Boitos. it has little TO do as it has with
the Pater Seraphcus of Goethes final scene. The
German poets devil much of a gentleman
that, he himself said
Not if he had them by the neck
Would e'er these people scent the devil"
Boto. unable to Introduce his hero as the poet
did, in the form of a poodle harked back to Wild
mans friar, very much TO the disturbance of the
dramatic illusion. but having placed him in
Fausts company, presents him cavalier NJ.
|haIlapine has no regard for such amenities. His
notion Of the devil is merely carnaI When he
throws off his cowl he is the fantastic devil of the
picture books, a figure that would fright the
soul or any human creature. When he appears
among his kindred on the Brocken he is bestality
lhcarnate In the presence OF his Maestro divino"
he bares his breast and arms with decorum; but
IN the company OF his fellows he casts off cloak
resembling Papagno's parrotke habiliments. and
oares himself 10 the rump 1t is stupendously pict-
uresque. Of course for the man is of marvellous
stature and amazing Elasticity of pose and gest-.
ure; but IT calls to mind more than anything else.
the vulgarity of conduct which his countryman
Cork presents with such disgusting frankness in
his pictures of Russian low life.
obviously 1t is the physical picturesqueness OF
this impersonation upon which this latest attempt
to popularze ''Mefstofele IS to rest 1t ought not
for the sake OF the manifold beauties OF Boito's
score; but what the lovelness Of Nine. Nisson's
embodiment Of the heroine and the splendor Of
C&mpanini's voice failed TO achieve may he
quered by this fantastic portraiture NJ. Chaiapine
is undoubtedly artist. II his ideals not
praiseworthy His physical appearance ought not
rotund voice and his eloquent defamation. II may
be pleasure. instead OF mere excitement. to
and hear him in other parts. At least it would be
a pity If the chief result Of his coming would be
only tho transformation OF Boito's opera into
thing like Christmas pantomme a raree show.
Miss Farrar and Mr.. Martin. two American sing
ers took the parts OF Margherita and Faust, which
used TO be supposed 70 he of some consequence in
the opera. The former by her beauty and also by
her art maintained herself in the good graces OF
the audience, and the latter, who disclosed the
possession OF promising but not fully ripened vocal
material mot dramatic-that quality ABSENT.
made favorable impression. In the classical scene
local traditions were put aside and the parts of
Helen OF Troy and Pantalis were sung by Nine.
Rappoid and Miss Jacoby-aso American singers.
A pother, 5 silly Il large. having been
made some recent utterances designed for the
latitude of Berlin and the atmosphere Of its
circles, IL may be worth while TO mention the fact
The departure from tradition is "a matter Of no
consequence. Those who heard the performances
I'm the old Academy of Music and in the Metro
politan Opera House when II will recall
the glory with which the voices of Nilsson and
Scalch imbued the music. and Will not consider
whether not the dramatic Illusion was marred
by the fact that they had appeared in different
characters I'm the drama proper. Some of them
may have derived a modicum Of pleasure from
reading pretty symbolism into The scene, to
which Boito himself attached large Importance
All these singers especially Miss Farrar.
warmly received. MI Conrled has provided beau
tIful and effective scenery for the work.
H. f. x.