New-York tribune., 1908-02-04
snoN GIOVANNI" AND MoLiERE.

A.. .s4-,-sai writer In THE Evening Sun has
,.s, moved 10 euIghten the readers Of that news
nspsr soacerning certain misconceptions as 10
~ Giovanni which he thinks have been dis
.,s.s5 rv the musical editor CT The Tribune
r.-.nse as he asserts there can be no doubt
chs. re Metropolitan star conductor lnleanins
,s- Mahie-l paid close attention to what
-,le+1 be called The theatrical part Of the per-
.orra1ce as 70 the purely vocal and instrumental
textures the writer processes believe that 'the
--s--s-- ,,esto- from Vienna must have been
-s-r-ssed" and even hurt" at certain remarks
,5-onped" IN reference 70 the recent performances
ot Noza-r's opera The remarks thus caTelessly
jet fall were small portion Of a long and serious
discussion which appeared IN this journal last
zeek These were she remarks:
7 would be less waste Of time, but more trial
rf uatience to discuss the Leporelo OF MI ChaIla-
riDe who seems to conceive al his characters as
ao-s rs a. RUSSIAN low life such vulgarian the
co-npgnion {for companion. though servant he Isl
nf Spanish lobIe-nan2 falgh.
The SUI writer wants TO know Il 81 was the
ssul, ot NJ Chaiiapine Mr.. Mahler or the author
Of TIE book Of the opera that such a complaint
was possible Persons familiar with preFAIAhs
conditions and doings at the Metropolitan opera
Houss and acquainted with the ubretto and music
Of Don Giovanri." viii not need instruction IN
tie case Observation at he rehearsals and per
to-ruz-ces OF the opera and Mr. Mahlers private
sn6 uuhlc u1terances TO his duties az the Metro
poitsu Opera House makes II unnecessary 20 say
that he did not attempt 10 teach MI Chahaplne
ha- n sing and act his part Neither need Da
Poas be held responsible. Nevertheless The
SIMS" writer -ushes brave J, though lnconsioer-
stely TO the rescue Of all concerned;
Fortunately. or unfortunately. there is a simple
defence <o- conductor, singer and HbrettsI 1neIS
-hgf cannot oe found IN the play by MolisTe deal
.ng with the adventures OF Don Juan Ano no II ; Ia@'
roresv the part of the servant rs oToaclF CONF
TIE domestic pt the prince Of phianderers IS Ils
valet q French CLASSICAL cone6E aao a" pit IN
r7-F
ts-pretatio- Is but following the best uAoi1oii'
y To,S interest those who are familiar with the
gloomy books Of Gorky TO learn OF any writings cin IL
chargcteT. barring The devil II one story
The question at issue IS not the traditional per-
Torrance Of Sganerelle in Moiere's Fesun oe
p,e-re" b,t Of Leporelio in tie opera of la fonIs
srd Mozart: the plain implication is however llaI
Ds Ponies book is an opeTauc version oL NLe
French counedy. In view OF this II may be salo
+har had The sun" man written There is scarce
n character scene OF incident il the opera that
csn Be found II the play Of Aollere ne Wouic
hare come much nearer the truth thah ne olo
Da Ponte did not go Mollere for his book eA-
cept Il The sense that Moliere went 10 the plays
~ tae Den Juan subject which were current be-
fore and IL his day aiozarts ubrettist built his
hook almost scene for scene sometimes las IN
The Catalogue song) almost word for word on an
opera Ebretto which is supposed 70 have been
written by one Bertati, was surely composed by
e1d Germany a the very time when Mozart got his
commission 10 write a second opera for Prague
Ia Pouts doubtless knew Molieres play buI
equally doubtless he did not go 10 il for either
Ecen.s OF characters. There is no Donna Anna
a L Tes,in de Pierre; there is ZerIina (un-
less ne TWO country girls whom Don Juan courts
q the same time can he looked upon as making
ore ZerI-na): there is no midnight assault upon
canns Anna for q reason already made clear;
there Is 10 duel with the CoInnandant Though
there is 3 passing reference to similar murder
IS having been committed months before the play
opens; there is Catalogue song there is no fes-
nTETy which Don juan attempts 10 outrage one
of his victims: there is courtsflip of Donna FL
s1sss charabe-raid; there is no serenade. no dis
EGsed Jeporello making OF tEroUgh the night
7th Elri-s. TO such incomprehensible meeting Of
lie Characters as gives occasion for the exquisite
Hsxtet- Ire resi6uuna. which is very small in the
nay though large the score. is not original mat
'er n Moliere but property common TO the many
plays which had a vogue both before and after
Le FesJin De Pierre"
Lsporelo is not the valet OF French classical
crnecy, but a Development Of the Gracioso and
Areccnl1o Of Italian comedy. OF course, he is
ooraic broadly comic: much Of buffoon. in
ee1. than Sganarelle. The objection TO Mr. Chalia-
5tnss irnpe-sonation is that 1t is Intellectually
ooorlsh anc physically dirty Don Giovanni would
nj have MADE a companion OF a lout whose coun-
1e2ance filthy. hair NANCY, and whose sole
.ae-al pay OF the order called ''nugging" IN
Ire slang OF the theatre. Such features have not
teen found in the best traditions of the stage"
= tA-s writer, IL an experience with the opera
q over q generation The reference to Gorky,
l'elnly intended 10 apply 10 other representations
g u Ch2liaTine as well (notably his disgusting
embodiment OF Don Basilio In Rossini's +'BarberD
"et 10 his illustration OF personal habits. on
which i Is not pleasant 10 comment. II. Z. X