New-York tribune., 1909-11-28
M USIC
YESTERDAYS OPERAS.
Tristan und Isolde" at the Metro
politan Opera House.

ners Tristan und Isolde at the Metro
politan Opera House. There were other
things which called for record and some
detailed comment-such IS the first produc-
tion in the city In its original tongue. 80
far as we can recall at the moment. OF
Maillart's delightful opera comique. Les
Dragons de villers." at the Manhattan
Opera House I'm the evening and repeti-
tions OF "Sarhe' at the same place I'm the
afternoon and OF la Traviata" I'm the
evening at the Metropolitan: but they were
all overshadowed in Importance by wag-
ner's great drama. which was performed
here for the first time under the direction
of Signor Toscanini. II was to this clrcum-
stance that the value and impressiveness
OF the performance were chiefly due. There
was new scenery for the three acts. one
piece OF which, that OF she last act was
wholly beautiful and altogether adequate;
enc piece. that of the second. effective,
though not more 80 than the picture which
we have been accustomed to see ia the
drama for more than "A score of years and
one piece. that Of the first act different
enough from all its predecessors to deserve
little attention. The ship scene has al
ways been i cisr In Tristan und Isolde"
Here. for oEce. Wagner's cunning In
stagecraft seems to have deserted him. He
calls for tentlke apartment on the for
ward deck OF a ship which shall cut Off
the view of the background in which the
hero of his play holds the tiller Tristan,
summoned to her presence by the princess
whom he is conveying to Cornwall TO be
the bride of his king refuses to desert his
post at the rudder when he is surrounded
by knights and squares. yet when the cur
tains of Isolde's tent are drawn all view
of the forward part of the vessel is shut of
from his view and he must steer by the
sun or clouds, so far as we can know,
though he is about 10 enter a harbor. Wag
ner may have conceived Isoldes apartment
rs small. temporary structure,-an avn
ing stretched above TO provide protection
from the suns rays and hangings on the
side TO screen the royal maid from vulgar
gaze; but he prescribes that the back
ground shall be hidden by the tent except
when the rear curtains are drawn aside.
and he cOmpels US 10 think of the tent
closed room by making Isolde call for the
opening of the draperies to save her from
suffocation.
Luft, Iuft,
Mir erstickt das Herr
Define, 0ffne dOrt welt
and this on the deck Of a ship in the open
Sc a. No doubt. stage managers and scene
painters have frequently busted their minds
with the problem but we cannot recall any
serious or sensible effort to solve it. Al
ways the ingenuity Of the picture makers
las been expended on the silly sails and
tripping tackle Of the ship. and the knight
ly helmsman, generally sailing in one di-
Tection, with the canvass bcllying in the
other, has been compelled To trust his ship
10 a merciful Providence. so that Isolde
may converse with her maid without being
seen ny the vulgar eyes of the ships COM
Pany.
The new ship at the Metropolitan Opera
House is not so eccentric Of rig as its
predecessors were. but il makes the ques-
ton Of how its course is determined a
greater mystery than ever. The artist may
have conceived it as q British ship of any
or no particular time in the middle ages;
but the style and gorgeOusness of its cary
ings and tapestries make US conclude that
it is Genoese or Venetian rather than early
English Of any period However. since no.
body seems disposed to bring reasonable
ness into Wagners scheme, not even Mr.
Gatti-Casazza. of whom We are told that
hc brought scientific training in marine
matters to bear upon the task of fitting
''CristOfOFO Colombo f0U the stage of la
Scala, perhaps the element may be put
! aside as of no significanc, compared with
the passion and poetry of the drama, as
indeed il is not. What matter how Tristan
/ steers his ship long as he and his com
panions guide our heart and mind and
Imagination Alright in their Interpretation
! of the lyric drama?
! Signsr TOsCanin cared for that yester.
/ gay. His was a beautiful reading of the
musical text; and il it was not Of the YER
bal also !he fault did not lie with the con
0uctor to whom the Language Of the per
/ forInance was foreign. bat with the per
/ formers. Tho language of the drama was
foreign to SignOr Tcscanini; the spirit WAS
not. Into thst he had penetrated deeply
/ and its potcntialities Of seusuous beauty "a:
/ well as dramatic truthfulness were brought
/ to the notice Of the listeners az they have
seldom If ever been before at local repre-
sentations of Wssner's masterpiece. There
| was not alone passionate utterance, " whict
/ in It's cheap and superficial variety nearly
every Italian conductor has at his yom-
mand. but deep feeling, profoundly poeticaI
charm and an eNauisit" sense Of the lowell
| Pess which lies I'm beautifully balanced tuna
! tints And il was admirable. the manne
| IN which the continuity of the musical fab,
| ric was maiutained--the manner ia which
| the orchestra suffered no let or hindranc,
| 90 its pathetic discourse. though IT was, as
| Wagner designed II should b., only splendi,
/ support and subordinate commentary oI
1 the melodious speech Of the actors. MelOdi
| Gus that speech was yesterday. becaus'
I Sienor Toscanin permitted it to he so
| New York never before heard Herr BurriaI
sing with 50 much appreciation of wha
song is as distinguished from declamatOT!
! speech as he did yesterday; it WAS nkt
I unto a revelation. Nor was New York eve
before permitted To enjoy such penitudi
| Of lovely tone and sincerity Of dramati
/ utterance from Mmc. Gadsky I'm Tristan
und Isolde as she poured out yesterday. /
has frequently been told how Nine. Homer
voice foated like a fragrance through tn
/ night scene OF the second act but here. too
the music of signor Toscaninrs orchestr;
/ helped 20 raise the singers gifts 10 a highe
| power.
! Praise has thus been given to artist
/ whose merits I'm the drama. like those n
Blass and Reiss and even Muhlmann OHh
could not command praise yesterday. nav
been lauded before: but there remains on
to whom is due double quantum. becaus
he sang in. to him. strange tongue an'
enacted a part anything but native TO Ia
manner to which he was born. SignO
Amato. who surprised us "a year ago b
his singing of the music of AmfOrtas Il
''Parsifal." amazed us no less yesterday 10
his performance of the part of Kurwena
showing fine appreciation from both
xnn