New-York tribune., 1908-01-28
MUSIC.
METROPOLITAN OPERA HOUSE.
Mozart, Mailer and Don Giovanni. ="

Mozart, Mailer and don Giovanni.
Mr.. MahIer's efforts to cleanse the score of Mo-
zarts Don Giovanni and. in a measure TO hit
the performance Of the opera out of the rut IN
which it has moved sohong ought TO have special
interest not only for the musicians Of New YORK.
but also for the operagoers. New York has known
the op eighty years, and among the pa
irons Of the Metropolitan Opera House are the
grandchildren of and women who studied the
Italian language and Italian literature with the
poet who collaborated with Mozart in the creation
of the work. It was Lorenzo Da Ponte who intro
duced the study Of Italian in New York and OF
Dante in the United States. From June, 1862 Till
his death, August Il. 1898, saving a few years
spent in Elizabethport N J.. and Sunbury, Penn,
he was a resident Of this city. and the associate
of some of its refined families In May 1870
he brought it about that Mozarts masterpiece
(or my Don Giovanni. " he called it, received
a performance with Garcia, Garcia's wife, his
(who died in London a few years ago at the
age OF one hundred and years. and his daugh-
ter (vho became the great MalibraD in the cast
Garcia senior tmpersonated the hero his wife
Donna EIvira. his Leporello and his daughter
Zerlna. Last summer the writer of this notice,
passing some of the most noteworthy incidents in
the history OF opera IN the United States in re-
view drew attention TO the startling fact that
there was still living memory which compassed
the entire history of the opera this side of the
Atlantic Ocean: Mrs. Julia Ward Howe heard
Don Giovanni in 1926. and Da Ponte was pointed
her by her brother, Samuel Ward. who be
came one of the old poets intimate friends, and
in all likelihood in his company often ate maca-
roni as the poet had taught Aunt Sally, who
kent q boarding house in Broonle street. TO cook
it When Don Giovanni first heard in New
York It was only thirty-eght years old, but its
immortal composer had already been thirtyfour
years in his unknown grave in Vienna That
strange and sad lot the poet has shared with him
seventy years in the American metropolis.
How often Don Giovaani' has been performed
in New York since the season which saw the ad-
vent Italian opera in New York has, we believe,
never been calculated Our operate institutions
have been heeting institutions but it is of record
that the opera once had fourteen representations
in succession and saved manager from ruin. So
honora bic an entry appears only once in the books
of operatic history but there have been several
luminous pages which recalled by Mr.. Mahler's
praiseworthy efforts, Such one is that which
tells of the revival of the opera in the first year of
the Metropolitan Opera House, when the three
ladies Of Mozarts opera were represented by
Fursch-Madi donna Anna), Nilsson donna FL
vira) and Sembrich (Zerlina)-a cast which are
inclined to put only second in splendor that Of
London a few years before-Titiens. Nilsson and
Patti DR.. Leopold Damrosch made brave effort in
the first year of the German regime bring the dra
matte values Of the music TO notice. but there
never be German performance of the opera which
can do justice anything more than the orchestral
score for therein, and only therein, is the opera
German product. The only language which be
perfectly consorted with the vocal music is that
Of SedI December 1888. another Iaudable effort
was made do justice to the work. but this per-
formance. too, was in German and suffered from
the cause just mentioned, but it had many merits
in the scenic and dramatic departments In March
of the preceding year Mr.. SeidI had the finale of
the first act sung at a concert by seven solo sing
ers to illustrate the fact. which has long been !
known to students OF the score that the customary
use Of a chorus at that place is without Mozart's
sanction and harmful the general effect. This Is
foot GnfTf T1arfn
rent under Mr. Mailer the second OF which took |
place at the Metropolitan Opera House last night |
As long ago 1866 DR.. Damrosch introduced the |
reform at Breslau. but, unless memory de- /
ceives us neither he Mr. Sedl tried the effect |
at the Metropolitan Opera House-intimidated prob
ably. by the vastness of the audience room. We |
have already commended the change as made by |
Mr.. Mailer.
This hurried historical review has for its DUR
pose to attention to the fact that there are
traditions associated with the opera in New York |
in connection with the performance, and to lay
q foundation for brief study OF the relation of |
these traditions to Mr. Mahler's reading of the
score. We confess that little at a loss
to say how large a proportion Of the present
audience these traditions are vital
and valid. Were the audience of to-day that OF
twenty-five years ago the doubt would not obtrude
Itself. The regular patrons of the old Academy
Of Music would have quickly noted every change
from the traditional manner in tempo dramatic
action, for many of them the opera man
her born But a change has come the char
acter OF our opera audiences-a change to some
extent social, and to a larger extent aesthetic
There. has been perversion of the good taste
which once existed. brought about by the char
acter of modern opera, and 4 younger generation
las grown up without the educational influences |
which went the singers and the operas
# the earlier day. Were this the case, con-
loisseurs would not have been compelled this |
season TO hear the vulgar buffooneries of Chalia- |
pine in III Bsrbiere" applauded the echo. |
hough they not only offended decency but
wrought havoc with Rossini's masterpiece. II was
nj the more tie credit of the performance of
Don Giovanni that il received with as !
much favor as accorded to it, though there
vas no demonstration which could be interpreted
IS evidence that the opera had won way back
@ the favor which il used TO enjoy. and that a
enn,a alton ard reconstruction of its scenic and
lrsr,atc features would ill large demand and
eceive q proper reward.
The ma lorlty OF Mr.. MahIers reforms we're