New-York tribune., 1908-09-27

Carrie Bridewen: Matho Albert saeza; shaha-
barim. Mr. saignac Narr Havas. Mr.. Journet;
Spendius Mr. Sizes: Gscon. Mr.. Gilbert: Author
tie, Mr.. Dufriche. Hamicar, Mr.. scotti Signor
Mancnelli conducted. The opera received a brill
liant representation. Mr.. Grau had piled up the
stage adornments with lavish hand. and though
IT disappeared from the Metropolitan stage after
two performances. material traces remained for
years in the settings of other spectacular operas
The scenes were all reproductions OF the Paris
models and exquistely painted: the costumes were
gorgeous a degree. Mile. Brevals beauty
(Semitic as became the character) shone radiant
in the part Of the heroine. and she sang and acted
with intensity that in its supreme moments
positively uplifting. Flauberts brilliant novel
supplied the material out of which 'salammbo"
constructed. The romance has a large his
toricaI incident for a background namely. the sup
preston Of muttny among the mercenaries Of the
Carthaginians in the first Punic war Running
through the gorgeous tissue which the French
novelist about this incident is the thread Of
story which Camille du Locle drew out for Reyer's
use-the story of the rape OF the sacred veil OF
Tanit by the leader Of the revolving merceuaries,
his love for Salammb6, daughter OF the Cartha-
gniaa general; her recovery cf the veil with its
consequence OF disaster her lover and the ptifGI
death Of both their hands The authors of
the opera were adopts in the field OF what might
be called musical spectacle. NJ du Locle had i
hsnd both OF the operas written for Paris. LIS
Vepres sicilienne" and Don Carlos Under the
scenario of Aida which Ghisanzoni turned into
Italian for the composer. If q prodigal and
sumptuous heapng up Of stage adornments could
make the success of opera 'Salammb6' would
have been one Of the greatest triumphs OF the
French lyric stage; but por1pous pictures not
the be-ail and end-all OF opera. m Paris, and
the fortunate cooperation Of du Locle and Verdi
repeated in the cola boration of du Loc.e
ard Reyer-
There are however. merits N Sslammb6' which
entitle 1t 10 q better fate than hefel1 ii in New
York. The people in the story have marked dra-
matte physiognoraies indeed he'd NJ. Reyers skill
in characterization been half great as n. F1au-
beTr's and NJ du Locle's there would have been
much 10 praise in the work The characters are
admirably drawn and show much individuality
in their intellectual and moral traits they do In
their physical-the crafty Greek the treacherous
NumiGiaa. the energetic and manly CarthaGnian.
the storm tossed heroine and the loveloru Lybian
coed dramatic types even II stamped with
stage conventions genius n musical character
zation, Ike Mozart. Wagner Verdi, would have
found means for making their -utterances as pict-
uresQue their presences; but this was beyond the
powers OF Reyer. His tastes modern his aims
far above the frtvolity which affcts OF his
colleagues but his abilities do not keep pace with
his ambition His models are easily found: he
clasps hands most warmly with Bcrioz and has
some OF the Frenchman's peculiarly GAllic rev.
for srontini and Gluck. There are tndica-
tions IN the that Les Troyens occupied
much OF his attention while he was engaged upon
it. and ! fancy that that anbitiously planned but
star-crossed work also familiar 10 the nbret-
list This need excite special wonder for the
association Of ideas was close enough The second
part OF BerifozE tragedy is also Carthasnian and
ends with Didos prophetic vision of the hero who
should avenge her wrongs Rome. That Reyer
also venerates Wagner but shows itself more in the
use OF the German masters harmonic progressions
than IN the adoption of mis- methods He adopts
the device Of reiterated phrases but hs purpose in
doing so could not discover Two short melodies
which are the themes of his brief instrumental in
PRODUCTION brought forward again and again.
bpk al e Sier}oes their EsAsenens1 - any Of The