New-York tribune., 1908-09-27

cient history provided the stories which the
opera composer laid under tribute VERY prop
erly dramatic song occupied itself at the OUT
set with q celebration OF that fabled singer at
the sound of whose voice rivers forgot 10 run
and winds blow" In the story Of Orpheus
2 nd E-ydice as told IN what is set down in his
tory the first opera music and love were
mated: and they have not Yet been divorced.
though both have undergone many and great
changes Of character. Love-sente. constant
chival-ic. tried and triumphant-has been hymned
amid pictures suggested by a millennium Of hu-
man happenings, and its expression has passed
through all the phases that the development of
the most direct vehicle Of emotional utterance
could place its service-from the u1elodran1atic
strfvings Of the amateurs who stumbled upon
opera in their effort TO Teaniuate the Greek
drama the glowing scores Of Richard Wagner
in which high art and profound science are Joined
in product worthy Of admiration any
other product of the intellect fred by inspiration
In the progress from Peri 10 Wagner, however.
despite many daring and dubious adventures in
new territories there has yet been avoidance
Of material IN itself ugly and repulsiye We
have been asked to contemplate the Hberttnism
Of Don Juan. but z il has served only
foil the virtue OF his victims, which in the
end emerged triumphant We have seen exposed.
tie nonstrous double nature of Rigoletto. but
only that the pHthos Of pste-ral love should
thereby re thrown into brighter relief. We have
seen convention sacrificed h. nature and ap
proved by communal experience set naught
ny wagner's treatment Of NEUROLOGICAL tales Of
unspeakabIe antiquity, but only that the tragedy
Of human existence in its pulssant types might
ne kept before the worlds consciousness.
The relationship occupied by music 10 the drama,
that IS TO the words the pantonine. the pict-
and the play, in -'Tosca' is that which II
clpes in uelodra using the term its origi-
nal and correct serse-with the single difference
that the dialogue which is illustrate and mildly
expounded by the music, and which the instru-
H-snts seek. more or less vainly. 10 accentuate.
emphasize and intensity. is nos uttered in the
spea king. bur the singing. voice. Even this Diff
ference, however, disappears at some Of the cii
macteric moments and the actors resort the
elocutionary devices which belong TO the spoken
drama, and foregoing pitch and rhythm shout
whisper hiss the words which tell OF the
feelings by which they swayed Thus the first
principle Of music which Is melody, in Wagner
much as IL was IN C1maross or Mozart. is sacri-
feed. Quite significant the degradation OF
music thus illustrated is the degradation Of the
drama which has brought II about. There has al
been restrictive and purifying potentcy in
melody II has that which has turned our souls
sympathy with the apotheosis of vice and pull
rnonary tuberculosis in Verdfs 'Trsviata which
has made the music Of the second act and the
finale OF Tristan und Isolde the most power
fu plea that be made for Wagners guilty low
e-s- Nowhere else is the ennohIing and purifying
capacity OF music demonstrated as in the death
song % Isolde. Without such palliation the vile
ness. the horror. the hideousness Of play like
'Tosca" is more objectionable in an operate form
than u the original lust and cruelty are pre-
sented in their nakedness. There is little or no
time TO reflect upon the workings Of perverted
minds. 10 make psychological or physiological
studies TO watch the accumulation OF and
their gradual development Of effects. except in
the moments so plentiful in PuccinTs operas in
which music becomes tindrance q inperti-
nence. Dramatic action cannot be promoted nv
music The province OF the art is 10 develop and
FIX mood or celebrate a deed. Tosca sing
OF her love. her Jealousy, her hate. her hope.
she cannot sing her frantic efforts escape the
lustful arms OF Scarpiai she cannot sing his
murder tthsugh she might have chanted is
CORY glory, Z she held it after the fact): nor
can she sing her destruction. /. fact there
is next 10 nothing IN Sardous drama fl for op-
cratic Song either in the sense that prevailed at
the time Of PaisieIIo prevails the time OF
Wsgner-which is now. In the opera a really fit
incident for the lyric drama borrowed from Sardou
is expanded adrotiy into scene which is both
usic&ly sTd dramatically effective II is the scene
In which fhs cartata is sung In the Quee's apart
mens while scarpis In questioning Cavsrxdossi
II hh own Here the set musical composition /.
g background for the dramatic dialogue Parallel
scenes provide most OF the opportunities which
Puccini has embraced for writing In what NAV be
called sustained effort outside OF the scenes be-
tween Tosca and her lover IN The frat act Thus
the d-st anale has poEnpous church Office q. II.
background. with tolling OF bells the booming OF
cannon, tbs pesling OF great organ through all
Of which surges stream OF orchestral melody
bearing the declsuletory shrieks Of scarpia All OF
this is purely irrelevant and external ana the de-
vice is cheap. but IL Similar In musical
purpoS. nE al the opposite end OF the color
scheme IS the opening of the third act The stage
ystue Is Of great besuty. The foreground
st.ous she plssfcr.n OF thu Castle OF St ANGELO 81
e~B cAxbscxA and The Ystsoss are xixsSs n
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