New-York tribune., 1908-04-02

In the background by the playwright 1t was down
to its smallest detail picture Of woman I'M
PEELED by one idea-and that an Idea IN wnicn nef
whole being had been resolved and which grew out
of the loftiest conception of love And then with
marvellous insight into the essence OF the play TINS
woman while the powerful personages of the piece
were bowing before her perfect example OF
conjuga love- and the populace were shouting tneir
tlbilations over the salvation accomplished. had
only one thought and that for the object of her
love- she bent and stroked the "rlsls tHal siio
had freed from the manacies
On January IA, 1887, the opera had revival al
the Metropolitan. This was the occasion on winch
its success was so marked. described in The IT'D
une's review of the first performance under MT
Mailer this season Fraulein Brandt sang in the rs
performance, Fraulein Lehman in the second ana
at the extra representation which had TO De given
TO satisfy popular desire. Miss Lehmanns VocaI
efforts splendidy seconded by those OF Ailred
Niemann as F1orestan, but there were features IN
the performance that disappointed IAe Iriouie7
reviewer nevertheless The point is an interesting
one particularly now when dramatic singers arc
dropping into the speaking voice more ana more lol
cIimacteric effects, and the entire passage may oe
ton has become the rule-)
Herr Niemann sang his air c'Gott. wech DunHei
hier,') thrllingly, and the duet with FFauleIil en-
Lehman tremendous an outourso 6 % ,J19 J49
tumult of jubation ike that OF jne gu
lovers The dramatic 5{Fsnghl 0 but her art mas
no plurrnet that sound the Wnoie uepLn VI
tenderness and pathoS which is IN the cnardSSSl
of Iyeonore Like Herr Niemann, she occaS Sio1Id4-y
sought 10 heighten the dramatic erect OF tle &
b. dropping from the singing 10 tne speahIIs ha
voice Wagner relates with enthusiasm IoH
Sctroeder-Devrent wont to give a supIsLne
emphass to the phrase Just preceding the truHl-
pet call in the quartet which marks tne SliIa& df
of the opera. Another step. and you are de+u.
bv speaking the last word with an a"ful acCtnt ,
of despair" He then comments: Ihe lhqSScilu,
able effect of this manifested itself 10 all IKE ah
aConizing plunge from sphere INTO dIytIet' y!,'
and its subnIty consisted in this, tna win hslI .
ming uuckness were given a glInpse oI @ Dooi
spheres of which the ideal ana Llt otiLe' t.
the real Nine. Schroeder-DeVr1ent saw ne &c
ginning Of the modern methods of dramatic *
preston and it is easy to believe thar an @ eIeu'
81 veil defined by Wagner made with her sweep
inc voice and ACCOMPANIED by her plastic acting.
was really thrilling. But II is 70 pe IesItu t4a
we NAV before long get something TOO inuch o. %
this stvIe of musical accentuatiou Al Iestst ~.
the present we would prefer to see II kept GHl %
music which is amply expressive in llseIl- L -.
cin Lehman shrieked out the whole phrase daI ~
stead of singing it, and the erect can sCdI
be set down as successful 1t might nave Lg DTeI
had the same device not been overcome D5 ~
Robinson as we'll as Herr Ntemann ana Frdul@iH
Lehman.
Among other dramatic singers who nave ieII
deep and vivid impressions on the minds OF the
lovers of Beethoven's opera in New York are NINE
Moran-OIden. Katharine Klafsky. Nine famous
chowsky and especially Nine. Ternina whose
sweet tenderness would call for hyperoole were
an attempt to be made describe it