New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1909-02-06
MUSIC
METROPOLITAN OPERA HOUSE.
Return of Nine. Moreno in 'Tannhsuser.

Return of Nine Moreno In ''Tannhsuser.
'Tannhauser' with many evidences OF that seri-
Gus. careful and intelligent preparation which has
distinguished nearly ali the operas Of dramatic pih
and moment brought forward at the Metropolitan
Opera House since the management cana in
had It's first representation last night The opera
served to reintroduce Nina Berta Moreno, who
won her beautiful and fragrant guerdons in the
opera last season It also brought back MI Bur
ran. and gave the public opportunity 10 make
the acquaintance Of the excellent Mr. Feinhals in
another character-that of Wolfram Eschen-
bach Among the many features which gave IN
usual brilliancy TO the performance and attested
the value Of a restudy of the opera were an IN
tellsent treatment Of the bacchanaIan ballet Che
Paris version Of the being used). the restora
ton of passage usually eliminated in the finale
OF the first act, which brought with It some
jocund hourishes of a choir Of horns from
a visible band, and q particularly stir
ring performance of the choral portions.
that lifted this factor into the prominence which
II occupies in the current representations Of Die
Meistersinger.' heightened effectiveness was
also seen in the stage pictures. that OF the gather
ing of the hunting party being full Of life and
color. By bringing the horn players, Whoss echoes
Of the greenwood put much vitality and pretty
vertsimilitude Into the scene, Mr.. Dtppel and MI
Hertz guilty of a slight anachroDisn, for
there Waived French horns IN che DAYS
OF Herman, Landgrave OF Thuringa but unless
Mr.. Bitter. DR.. Kilgani and their Halau Club Of
amateur horn players could be enlisted II is not
easily 10 be how historical accuracy could be
preserved IN this II would be delightful.
however TO hear the effect Of real hunting horns
in Wagners celebrating music.
From beginning TO end the performance was
heard with growing delight Nine Moreno pre-
scented figure Of regal beauty and an embodiment
Of the tragic spirit OF the heroine in pose gesture
acton and song which both pUissant and
touchinsly pathetic Nothing has been seen and
heard at the opera this season more convincing or
more moving than the play OF emotions IN her
mobile features and the eloQuence of her timid
confession Of love for the minstrel knight in the
duet preceding the tournament OF song; nothing
more spiritually uplifting than her prayer. Here.
as elsewhere she moved in ideal regions and
red her auditors with her Ideal also In its dignity
and beauty was the irnpersonation of Wolfram by
Mr. Feinhals Mr.. Burrian's Tannhsuser was I'm
pressive. though there more hard brilliancy
than mellow beauty in his voice But the char
acteristcs Of his singing will be recalled from
former seasons snd need not be dwelt
Mr.. Blass's Landgrave is an old recollection. is
also Nine Fremstad's Venus, but the latter can
never be and heard without challenging anew
expression Of gratitude and delight Miss For
MIA, the shepherd lad sang the song spring
most acceptaby--a feat Of greater difrcUlty than
is popularity ina z1ned Praise IS due also. Mr..
Hertz, not only for the fine ensemble effects at
tanned the performance also for the zeal and
intelligence in the work Of preparation which those
efforts published The minstrel knights Of the
Landgraves court outside of those mentioned.
were inpersonated by Messrs- Mdhluann. Reiss.
Bayer and Gunther. Tunefui pages we're Rita
Fornia, Rosina Van Dyck- Lillian Smelling and
Henrietta Wakeheld II 2 K.