New-York tribune., 1909-01-19
MUSIC
OPERA AT THE METROPOLITAN.
Mozart s Comedy Again.

a 'nird performance of Mozart's "Nozze di
go 'cok place last night at the Metropolitan
Cp7id fiouse' 10 the manifest delight Of Mon
uaY subscribers and large gathering of transient
patrons Mozart's opera was e4ye, viii, the same
cast as last Wednesday evening and Saturday after
noo"' noon IL VIII be repeated on Thursday evening of
tills week, when there Will perhaps be better on
portunty than has yet been offered for persons who
47 Ho1 SUBSCRIBERS for the season TO see and hear
uhe work y comfort; for the Thursday subscribers
a. Hot SO numerous as those of Monday. Wednes-
Gay. FRIDAY and Saturday II the opera is with
drawn after the fourth performance because of the
eAgencles OF the repertory and the impending de
parture from the company of Mines Sembrich and
lanes there will doubtless be some feeling of
disappointment in the Friday subscription class:
but 1t has never Yet been found practicable give
every opera to all the classes since Mr. Grau in
troduced his 100 generous policy in the matter Of
repertory. Miss Destinn and Miss Farrar might
take the roles Of the Countess and Susanna, re-
spectively eve believe they in the repertories
Of the two ladies'. and an understudy might he
put into the latters part Of Cherubno and thy
opera given again later; but this could done
without injury the results which have come from
theensenble rehearsals under Mr.. Mailer.
How much Of the extraordinary success which the
opera has achieved is due to the harmonious
operation of ell its factors-scenc. dramatic and
musical-becoTnes apparent when the
sion is compared with those which have preceded
II in the last decade The change which most
obvious to tire has effected in the scenic
macy established by placing the pictures in
smaller frame. thus concentrating the effect
the scenes themselves appropriate and beau
uful that they give atmosphere 70 the sCintlant
comedy and its musical inJegument- But after
these things have been noted there is not much
change from the old order of things 10 record ex-
cept such resulted from the infusion of dramatic
blood into the play and the breathing of the spirit
Of beautiful life into the music There is special
significance in Mr. Mahlers preparation of the
-rT7a ICE Is n elSiOD
Of numbers seem n have been directed by the prac
teal considerations which must influence all artistic
directors when they producing opera under
ordinary circumstances and conditions The mid
night hour looms fatefuIly fearful before them.
whether the opera be Wagnerian tragedy or
Mozarttan comedy. Mr.. Mailer has seen fit 10
omit the counts air in the third act, 'Vedro matr
10 sospiro,' which we are accustomed but last
Wednesday he made good that deprivation by
storing 10 its place in the fourth act Figaros A
prit un 20 quegT occhi' air which long
discarded here, but which is full of spirit and
bubbles over with humorous Characterization bit
Of IL so broad, indeed, that 1t could well be
discussed before polite readers without apology. On
Saturday afternoon and last night the air was
omitted, in order that the finale might be reached
the quicker, thing be regretted. for Mr.. Didur
sang ii admirably. However. the air, while illu-
mnative Of Figaro's character is not essential 10
the action.
d Here elision 10 save time. The next in
stance is a restoration obviously made to gain
time Mr.. Mailer permits TO hear Barbarina's
L no perduta me meschina' al the opening of
the fourth act perfect gem of dramatic song.
with Cts pathetically childish GRIEF the lost
pin, daintily sung. too by Miss L'HmIlier We
compelled to forego the buffo airs Of Bartolo and
Basilio in the first and last acts. but they have
always been movable and removable feasts.
cording to the efficiency Of their interpreters.
Neither Of the two would have enhanced the musi-
cal enjoyment OF the current performances.
The vivacity Of the action and music were COM
mented on a6miringly in this Journals review of
the first performance Only in instances does
II seem necessary TO modify the praise OF Mr..
Mahler's reading. The seXtet of the third act, and
the section of the finale Of the last act beginning
Pace! pace Tnio dolce tesoro" might advantage
ously be taken at quicker tempo than he took
1t on Wednesday and Saturday. In the latter
''Andante" ought surely 10 read in its old
sense indicated by it's derivation, the which
1t had in the days OF Bach and Handel. when 1t
sometimes united with Allegro" C'Andante-
AlegrO'D. Mr.. Mailer, however. is not a blind
devotee of the printed page. In the last finale at
the ensemble passage "Ah! tutti coutente" ne in
terrupts the Allegro 10 introduce Adagio which
is Of transporting effect. Last night all the tempt
delightful.
Though the charm OF these performances of LIE
NOzze di Figaro rests largely upon such beauti-
ful singing as is heard from Nine Sembrich.
Nine. Eames and, in a less degree Miss Farrar
many of the patrons Of the Metropolitan are be
ing made to realize now much attention TO small
detail may reveal beauties never observed in the
conventional performances Of the recent past.
Instances in point are found in the we'd
ding Miss Sparkes and Miss Smelling
the leaders of the villagers sing the praises Of
the Count chaFmngly. stepping of pretty
picture as the opera boasts. Then follows the
dance: not tedious ballet, but graceful step to
a fandango measure-a real Spanish tune which
did duty in Guck's ballet Don Juan before
Mozart borrowed Il from the source to which
GIuck went for It. The scene is thoroughly charm
ing. and adds much 10 the innocent happiness Of
the play, which never quite buried by the story
Of intrigue From a vocal point of view, the great
est value OF the performance Is 20 he found in
the exemplification OF the true Mozart style IN
Nine Sembrich's singing. The music Of Susanna
the low register, but the manner in which she
pours out its bubbing hurnor in the first act and
finale and its tender sentiment in the ininitabe
Deb vieni non Tardar' ought 10 be educa-
ton to the hundreds of students Of singing in the
city The chief charm Of Miss FarTars Cherubino
is in it's physical loveliness- AS usual with her
when first essaying part. she is too ebullient in
zeal and fancy. After A while she Will learn that
men do not behave as their legs and arms were
strung on wires, ard that young man old enough
to be made ca plain in a Spanish regiment may be
never so sentnaentay inclined. yet not behave like
Iovesick poodle In the presence sf the object Of
his passing passion II r. n.
HAMMERsTEIN ENGAGES CAVALIER.