New-York tribune., 1908-08-30

Van Zandt headed companies which exploited as
varied and dignifed repertories as those OF the
German companies at the Metropolitan Opera
House. barring the Wagnerian list Miss Van
Zandt, diminutive but winseme in voice as well as
figure, and ingratiating in manner. recalled an old
observation about precious things being done up in
small parcels. Her coming seemed 10 betoken the
OF the day of small things. She appeared
in la Somnanlbula.' and It not until two
months had passed that the patrons of the opera
were privileged to hear her In I1akme-'-the opera
with which her name chiefly associated in
Paris. Meanwhile she appeared in Martha
'Mignon.'' Don Giovanni and 'Dinorah" without
rousing the public out Of the apathy which it felt
toward operas OF theis character. And when her
battehorse led into the ring the task Of sus-
tanning interest in the had fallen upon the
shoulders Of the masculine contingent in the COM
pany.
Curious questionings raised by the produc
ton of 'FIdeo'' and Die Meistersnger'' in Ital-
ian. IL was generally recognized that Mr Abbey
offered them sops to Cerberus: but the German
element in the population. which they
signed 10 appease. plainly were lacking in that
peculiar bent Of mind necessary to understand why
Beethoven's opera done tn Italian with
half good was supposed by the management to
he worth two-thirds than the opera
done In a language which IL could understand with
cast all good Uwo of the principals Mime. Leh-
mann and Mr. Kaliscf, being the same). during
the preceding seven years. Was the Italian Ian
guage 81 per cent more valuable than the German
in an opera conceived in German written in Ger
man and composed in the German spirit by Ger
man? The public thought not and ''Fideo'' had
orly two performances. A kindly view was
taken of the Italian 'AIcistersnger" which enabled
the Germans TO give expression TO their feelings by
ma king demonstrations over Mr.. Seid There was
much 10 admire moreover, in the singing and act
ing Of Jean de Reszke wather and NJ Lassale
Hans Sachs. There was nothing of the con-
ventionsl operate marionette in these men. One
night while they and Edouard de Reszke were on
the stage at the time / expressed INV I'd
miration at the sight Of three such fine snecf,ner.
OF physical manhood to Nine Lehman. who sat
my elbow in a baignoire
Inspiring. isn't it,
Yes" was the reply. and they might he o.. I'm.
arusls as they are men If they would but study"
We all know that their American experience wa,
as little lost on the brothers de Reszke as 81 wa.
on Nine Lehman herself who stepned into ,hs
foremost rank of tragic singers so soon az Aoer,c
offered her the opportunity to shuttle off the Oh
legation Of singing Princesses'' as she called #
Mascasnis -Cavalleria Rusticana" the hot -blood-
ed little opera which destined TO make so preat
a commotion in the world chad already begun to
make it. indeed. had its first production at m.
Metropolitan Opera House December 80 The
opera was no novelty having already made an ex-
citing career before the Metropolitan Opera season
opened. but there were two features OF the mar
fornances calculated TO live in the nen,o~y ~,
serious observers characteristic Of the cbsnSe
in spirit which had over the institution .nca
the departure of the German artists: Miss Eames
wore perfectly exquisite accordion pleated skirt
as the distraught Sicilian peasant and Sisnor Va
lero sang the Sciliano the open stage the
overture being stopped and the curtain raised 60
that he might sing his serenade to Lola with great
er effect He sang behind Lola's house and win
ming a call in spite OF his striduous voice and
singular phrasng. he stepped out from cover bowed
his Acknowledgements and, returning to his hiding
place. serenaded his love again After he
had come forward a second time Signor yianes
found his place in the and resumed the over.
ture.
'Cavalleria Rustcana" precpItsted an amusing
but extremely lively managerial battle when Il
reached New York Those who watched the op-
cratic doings OF Europe were aware OF the fact
that the opera spread like widnre from town
TO town Immediately after its first success at
Rome Fast IT travelled however, the intermexzo
travelled faster. Se,dl had seized upcn it in the
summer of 1881 and made it feature OF his con-
certs AZ Brighton Beach. Then simultaneous
announcements OF the production OF the opera by
Rudolph Aronson and Oscar Hammerstein in the
Tall. Mr. Aronson wanted TO open the season at the
Casino with il and let IL introduce change IN the
playhouse. Mr.. Hammersten had also announced
the work but he had theatre at his ready dis
posal He thought Aronson poachiug his
preserves. and there began divertinE struggle for
priority o: performance. from which nobody profit
ed and the opera suffered. Amid threats Of cr1m-