New-York tribune., 1908-03-21

Beethoven However this is q matter in which
further hearings may bring change OF mind
The traditional picture for the last scene is a
public square before palace adorned by
statue Of the King. THIS has given place in
Professor Rollers creation TO an esplanade IN
front of the prison tower. another example OF
massive construction taking the place of the
conventional fiat distemper paintings with sky
borders and wings A singularity. which is en-
phasized by the unfortunate grouping Of the
chorus, is that the scene seems to be lifted TO
suoa an altitude that horizon is visible: the
spectators look straight out into the nanitude
of space ard cannot avoid disturbing feeling
OF amusement at seeing many people hastily
gathered high and apparently inaccessible
. place. The section OF the prison at the left is
Of architectural style, moreover. which calls
up an impression Of ancient Egypt The change
10 this scens from the gloomy cavern is accom-
plished without interruption Of the music. the
interregnum being filed by the overture "Leonore
No. g." which is thus called upon. like the march
In the frs; act. to do the duty of the intermezzi
in the operas Of the young Italian vertists In order
to give dranssfic coherency TO the proceeding a
portion ot the spoken dialogue which was long
ago suppressed has been restored. though in a
manged form which leaves bit of vonderment
In the minds Of close listeners. After the duet,
20 namenlose Freude.'' Rocco returns and an
nounces to the F1orestan and Leonore that the
minister OF justice is come with list Of all the
prisoners who are TO be brought before him. The
list. however. does not contain the name Of Flor
eStan, whose imprisonment mas been tne
act OF Pizarro. Then. piously raising his hands,
he utters the vhrase: And God give force to my
words" In the old lbretto the line reads: And
If God will give force TO my words, you shall be
free and your happiness will be my achieve
ment." The significance of this speech Is maod
manifest in the next scene, when Rocco brings
Florestan and the wrong to which he has beeiI
subjected to the notice of Don Fernando, With
Roccos words the overture begins and the curtain
slowly closes during the introduction to part again
aTIx-j WI 1oda and he
last scene flooded with sunlight. The purpose car
ried out at the rehearsal Thursday was frus-
trated last night by the applause which followed
the overture. It Is marvellous, effective appiIca-
ton of the device, which goes back TO the days OF
Nicolai IN Vienna Of introducing the overture into
the middle of the opsra. We have had it at the
Metropolitan Opera House between the second and
third scenes when il works anticipation OF
the dramatic contents. We have also had it after
the dungeon this Seidls plan). when Il
became ant-clinax-an impression which was
made again. though in lesser degree. when the
trumpet call sounded last night But the overture
played under Mr.. Mahers direction with
splendid power and eloquence.
A hurried record only can be made of the per-
forn1ance whole. Mr.. Mahler has done again
what he did in Tristan und Isolde and Don
Giovanni to bring the drama home to the minds
and hearts Of the audience. He has subordinated
the orchestra to the singers that every word
and note can be heard. understood and felt. He
has proceeded with freedom IN the matter of
nuance and has used his string forces III whole
or detachments he thought best from time 10
time. How his proceeding affected the music of
the Introduction to the second act has been sug-
gested. One effect enforce so much care
upon the singers that they frequently appeared to
be iaoortng under restraint and displayed little OF
the spontanety which iE essential to complete
success. That the audience felt the power of the
music was proved by the rapt attention with which
1t was heard. the applause after the first act
when Mr.. Mahier was called before the curtain
as well as at the close, and the delight manifested
after the overture The record is made complete
by appendins the cast. follows
aiarceiliHe