New-York tribune., 1908-01-04
MUSIC.
THE MANHATTAN OPERA HOUSE
Production of Carpenters Louise. y

rHrhered within the walls OF Mr. Haumerstein's
opera house last night all a-tingie with curiosity
concerning new opera and eager to proclaim its
appreciation Of the managers pluck and enterprise
and give enthusiastic welcome to his latest
offering. The opera Gustave Charpentier's
Louise which had first representation. after
2 fortnight's delay caused by the Illness of Miss
Mary Garden. whose Partisan success was largely
conditioned by it.
Louise has made a great noise both a lit
eral and figurative sense. during the greater part
OF the last eight years 1t has made the rounds OF
the principal opera houses the European Conti-
nen,- buS most of the noise came from Paris. AMI
among those who SAT- in Mr. Hammersteins boxes
and stalls last night there many who had al
ready made the acquaintance of the work at the
Opera Comioue. in the French capital. It is likely
that their interest in the performance was
mingled more or less with curious ques-
1ionngs touching the attitude which local
opera lovers would assume toward There is a
vast difference in the mood in which Americans go
10 public entertainments in Paris and at home
In sense though not a large dignifed one
the tragic element in the story OF Charpentier's
opera is universal; but its representation is in
every particular the most local and circumscribed
oe any opera written We not disposed to
waste much time space in discussion of things
70 which the patrons of playhouses have often
exhibited callous indifference. II only jus
ufy a hurried analysis Of the artistic nature of
the new work that attention is called 70 of
its essential characteristics Louise is not a
French opera, though its is French. its
people speak French and its music echoes French
measures when it is original. and also when bor
rowed or initiated Louise is Partisan in its
gayety its passions. its vugarity and its artistic
Nlciousness. II music could in itself give express
sion ethical ideas would also be proper TO
say that this score is Partisan in its immortality
coupled with its story. which gorifes the Hcen-
1iousness OF Paris and makes mock Of virtue, the
sanctity Of the family lie and the institutions
upon which social stability and human welfare
have ever rested and forever rest. the music
may also be down as immoral. Certain it is
that there is nothing in il that is spiritually
lifting. and little that makes for gentleness and
refinement y artistic taste It is French in
the historic sense, because it rudeIy tramples upon
al The aesthetic principles for which the French
composers from Lully TO the best Of Carpenters
contemporaries have stood-elegance grace and
beauty Of expression.
II Is. however characteristic Of the times. char
acteristic in subject and in utterance. To the in
tellectual and moral anarchism universally preva-
lent among the peoples of Western culture, which
desires 10 have idealisn outraged. sacred things
rlolculeo, high conceptions of beauty and duty
dragged into the gutter and ugliness. brutality
&nc oeSIlalty placed upon pedestal long
( consuming thirst for things hot the mouth
may be slaked il makes strong appeal. and We
may. therefore expect il triumphant in the
new temple OF art To Mr.. Hammersten its
cess VII mean much. II will be reward for
another exhibition Of a bold and adventurous
spirit Of his skill in gathering together band
OF artists splendidly capable of presenting the
new lyric theatre in the American metropolis; of
a darngIy enterprising purpose to make all the
elements of his new productions harmonious and
auTingthe stage pictures. the action, the singing
and the Instrumental music This achievement he
accomplished last night when not only the
large and striking features OF the opera-ts scenic
outfit, its pictures Of popular carousal the
heights Of Mo1tnartre the registering realism of
the scene in a dressTaakers' shop, the splendid
acting Of Miss Garden and Nine. Bressler-Gianoli.
the ire singing % NJ Daimores and the more than
superb acting and singing Of N. Gilbert-found
their confp dement, the finish hundred little
details. insignificant in the alseves. but singuar1y
potent in helping TO create the atmosphere with
ort which Louise" would be little better than
Eowery melodrana--a play that would be hun
times more effective if its hero and heroine
were represented living in Williamsburg, swell
ing al the spectacle Of the lights spanning the
East River and longing for the heshpots Of the
Tenderloin district.
Ia the first and last scenes, which are these that
compass the really moving portions Of the story
and in which Mr.. Charpentier disclOses himself
master OF theatrical stagecraft from operate
point Of view, there is little TO hold the eye, but
much captivate the fancy and the emotions
They were the scenes in which NJ. Dalmores du-
Tlicsted the accomplishments Of his Partisan
predecessor. Fugere. frora q dramatic point of
view and surpassed them from a musical. An
admirably conceived and still more admirably
wrought figure his embodiment of the
Partisan workngman. happy in his simple home
and the coupanionship of wife and daughter His
sOng vas tender and beautiful touching enough
10 bring tears 10 har6ened eyes. and the climax
terrible enough l send the audience home in
something like a panic OF terror Between these
pictures Of domestic happiness and misery there
Eel the scenes in which dramatist and composer
handed over much OF his labor the scene painter
and stage manager. and here Mr. Hammersteins
cola borators seconded him admirably The vari-
Gus scenes Montrnartre especially that
which gave a Of the city scintiIIant
with lights in the valley below were fascinating,
and though the incidents with which they
associated mark the least admirable part Of the
score. saving and excepting the wonderfully in
enious subIfmation Of the noises of the in
the prelude 10 the second and the Interviewing
q street cries with the dialogue of the Wretches
whose fate il is daily attend upon the citys
sober awakening. II is this feature which is likely
prove most popularity attractive Humor of
kind provided by the scenes in the dressmaking
establishment and this. more than anything else,
illustrated the care which had been spent upon the
"details Of the production. The representation Of
dressnlaker's apprentice by Miss Sigrist in this
scene and that q Eamn in the morning street
by Trentini viii probably be as long re-
r1enlbered the acting Of Miss Garden IN the
role Cf the heroine
Miss Garden has less opportunity 10 distinguish
herself as = singer in the opera than she had
Il .-ThaEs''. she has a better opportunity TO
depict character in the life whose two SIDES
sharply contrasted form the life blood Of the play.
She has made a fine dramatic study Of the char-
scter Of Louise and she bodies forth her concep-
tons clearly and convincingly-almost too clearly
tn few matters % detail The music exacts little in
the matter OF sustained song but il lies well within
range Of her and invites the of
tional color This she has At perfect command
she has eloquent pose and gesture In quality
Of and method OF production she last night as
or her first appearance brcug-- many remind
ers of Nine Calve that il would be safe venture
,lr,on the surrnise that artist has been her
---aT1r dram tic A exfr