New-York tribune., 1909-11-17
MUSIC
OPERA AT THE NEW THEATRE.

That matters are still i'm an embryonic
and experimental stage az The New Theatre
was made manifest last night. when the
nrst performance Of opera in the beautiful
house took place. An apology was officially
made on the programme for technical def
ciencies, and also for defects in perform
ance which were expected as a result OF in
adequate rehearsals. II was a discourag-
ing prelude to the evening and the discour-
egerlent was augmented by an unconscion-
ably long delay in beginning the perform
ance. still. there was much in the repre-
sentation which made atOnement. The
presence OF mechanical shortcoming was OBJ
Nious enough. but il the performance failed
measurably 10 disclose the standard which
Las been set for the lyric drama at the new
institution the fact may be noted with sat
isfaction as indicating that there is large
pleasure in store for opera lovers this sea-
son. The opera was Massenets "Werther.'
1t Is not a new work. but neither is Il Ga
miliar one 10 those whose operatic expert
euces have been gained in New York. Such
admirable artists as Nine. Eames and
NJ Jean de Reszke, tried years ago to
place il in the affections of the patrons
OF the Metropolitan opera House. but
tried in vain. No doubt an unfortunate en-
vironment had much TO do with the fail
ure. "Werther' is a beautiful work. Its
melodic charm and artistic sincerity raise
II far above other operas by the same au-
'hor which have won greater popularity,
but IL demands greater intimacy between
performers aud audience than can be had
in theatre built on the lines and having
the dimensions of the Metropolitan Opera
House The most obvious lesson which
performances Of il and other works OF like
calibre and character taught was the need
of an institution which should bear the same
relationship to the Metropolitan Opera
House as the Opera Comique does to the
Grand Opera i'm Paris. The New Theatre
fills the want. There could be no ques-
tioning of that fact when once last nights
representation got into the current. The
pictures on the stage were in beautiful har-
mony with the audience-were as fresh
as tasteful. as perefect in their adapta-
tions to their purposes Like nearly every
feature of the representation, they dis
closed gracious purpose. a high ideal
and splendid endeavor. There was nothing
20 call UP questionings touching the acous-
tic properties Of the concert room-not even
the trihing ones which were left after the
concert Of the symphony Society last Sun
day. The music fell as perfectly into the
ears of the audience as the pictures met
its eyes. AS intimate and amiable rela-
tionship was established between auditors
and performers by the first chord sounded
by the orchestra. as between the spectators
and stage pictures by the first parting of
the curtain.
There will he time enough hereafter 10
discuss the merits and demerts OF the
performance of Massenet's opera in detail.
Miss Farrars admirers can easily imagine
how exquisite was the picture which she
presented as Charlotte; and all the ele-
ments Of her perfOrmance-appear ac-
tion. sOng-were i'm agreement. The new
tenor. Edmond Clement. with voice OF
considerable sweetness. though of light
calibre, Won his way to popular favor.
largely by the tastefulness of his acting
and singing. notwithstanding that i'm re-
spect Of his singing, at least, he suggested
the style of tenor associated with Operetta
than with the larger form. OF larger ar
tistic stature was the new barytone, NJ.
Dinh Glly-hner I'm vocal material and more
finished I'm manner
Another newcomer. Miss Gluck. made
pleasant impression. and IL the others in
the cast did not challenge especial praise
neither did they invite condemnation.
tasteful reading OF the score. marked by
nice attention to nuance must he set down
10 the credit OF the conductor Egisto
Tango. H. T.. n