New-York tribune., 1908-09-27

Armand syIvestre and Eugene Morand TWO brill
liant Frenchnen IN their way, for the authors OF
its book Isfdore de Lara. At the time chief OF
the drawing room musicians OF London, as its
composer. The story OF the opera is sort of
variant Of Carmen in antique key, its
OF gypsy cigarette gil But any one who shan
take the trouble 10 glance a. the sixth satire OF
Juvenal will recognize that all its motives were
drawn from that source Tire likeness Car
men" Is accidental. after all. though Bizets opera
was not without influence upon the work OF Hbre-
lists and composer Like Carmen. Msssana. mere
" 10 crafty her lust. draws honest minded
and supposedly pure man into her tolls. and then
throws him for the next man she meets who
is handsoner and l-ster. IN Bizets opera tEs
men are the soldier. Don Jose and the bulIhEhts-.
Escamillo n De Lara's Ha-es a singer. and
HeIion a gladiator. Both o7erns end with the
arena as a backg-ound-the Plaza de TOrOs in Sc
VILE. or the hand. the Roman Circus. The
other. But here the -esenbIences END unless
pursue the traces Bizet's music into De Larz's
score, and this I shah not do out of respect for
the most brilliant composer that France Ias pro
duced since Berli7z Echion the harper: Glaphy-
rus Arnbrosius. the flute players who are cas-
tigated IN JUvenafs Catrihe aEatESt marriage.
the prototypes 81 GIessaIfaas first victim as also
is Polio. whom a lady Of lofty rank 50 loved that
she kept for kisses the plectrIrn with which
he had strummed his Iyre. That Iyre she had in
crusted with jewels and for the sake OF hin who
before the altar Of Janus and speak the mystic
formula after the officiating priest (+Wha1 more
could she do her husband sick asks Ju-
venal. what il the physicians had despai-ed Of
her infant son?') AS for HeIion his prototype "a
the gladiator Sergius. save that are permit
ted TO find him comely 10 look upon. and not as
one CALLED by his helmet, having huge be-
his nostrils and 'scTid rheum forever trick
ling from his eye"
So. too IN the exposition o. 8fsssalina's char
no vrH4
fanciful tale and otting all reference 10 the most
notorious OF her smoUTs che one which the last
wrung the decree of her death from the generally
corplacent ClauGius) nevertheless managed to in
dicate Juvenal's description the song whic.
Hsres sings against her. a recital BY Nyrrho
scene in the sluuls which she visits in disguise
and where she is rescued from gang OF roisterers
by Helon. and IN the scene Of her wOCing OF the
gladiator This scene. It was PLAYED by Nine
Calve. MAJ be pictured he-er \ siinrne- OF
in the book. the end there is an fndica-
ton OF something better than the groveIling car
nality OF the woman whose name has been a by
word for nineteen centuries IN her offer OF herself
10 Ffelon's sword and her opening the door 20 the
lurking assassin when the gladiator refuses TO
strike in obedience 10 his old yow 10 avenge the
supposed death OF his brother But all Of the stage
Messalira's words and acts up 20 that time give
the lie to the thought OF her capabiIity OF feeling
single throb Of pure sentiment. She is presented
all beast. there is not one moment OF cheer
TO relieve the horror % play which shows how
her lewdness coulpasses the death OF TWO loving
brothers who. unknown 20 each other. were both
her lovers At the end the hand OF Hares stfTsned
IN death. clinEs her robe brings her face 20
face with that death which the verifabe Messa-
lima was 700 cowarily 10 give TO herself when her
own mother pleaded with her to do so al the fate
ful meeting In tho garden OF I-ucullus.
But tEeYe Is often paIIation in music. T. this
fact have called attention before Music can
chasten ana ennoble but not rausic ike Mr.. d
Lara's. which. when It strives for anything strives
10 give added atmosphere a. the incontinencv
portrayed r. the stage pictures AMI proclaimed in
the tex II Is not dangerous music. however for
1t is irnpotsnt. with all its blatant p7ete-ce Tn
composer seks 20 M the opening scene with Ian
guor and lasstude: hs fills il with ennul instead
II De Lara's music were hyTnu,nE OF anything
/ should say It a hymning % sersuauty IN
It's lowest forms. but there are neither eloquent
melodies nor moving harmOnies in the score Do
Lara is feeble distemper painter The current
OF his music never really flows: II moves slug
gishly now and then and eddies lazily about
every petty incident IN the scene OF debauchery
in the second act II waits for xyophone 70 rattle
an accompaniment 10 the dice: II holds It's breath
for ruted horn obtrude its voice with an tn
ane vulgarity which would be laughabIe were u
not pttiful 70 hear Il IN work which Is admirable
in its dramatic contrivance and scenic equipment
Mr.. Paderewshis opera. "Manru." hal IT'S first
performance February Il 1902 Mr.. Damrosch
conducted The composer. who had taken 8 hand
in the preparations ls1end the representation
fron box and the list Of performers was this:
gsss.. EiiaRe aFas S. s'as55:a T9ss:a
Asa Fritzi seher
Manru. Alexander var Han,s-.0-~Es
az. Nj Bsss
Orok- AR. BiSpaam
had txs x4w@z~