New-York tribune., 1909-02-20

! scene
ness and death: nineteen have been seen and heard
at Mr. Hammerstein's establishment and only three
Of them have spared the audience pictures OF
misery and dissolution. moral and physical II is
refreshment. both of body and soul. to turn away
from such q sup Of horrors STnetana's ''Bartered
Bride the latest addition to Metropolitan list
will disspate some of the gloom. 1t came last
night
That breathes upon bank OF violets,
stealing and giving odor.'
There has been time within the last quarter
OF century when the music lovers OF New York
who take serious interest in the manifestations
of the art have not heard of this opera a
creation IN which the spirit Of the Bohemian peo-
Pie nnds as vital expression as does that Of the
Russian in Glinks's "a Life for the Gar These
two operas stand quite alone in this respect. their
nearest companion among the works dear to other
peoples being found perhaps, in Wagners only
comedy But Die Meisterstnger, If characteriSt-
icaly German in its essence, is medieval IN its
externals and Its musical idiom is racy OF the
German soil only so far IT gives expression TO
German methods of musical thought. In The
Bartered Bride the pictures and incidents
such may be found any Bohemian village
to-day, and while the style OF composition is
direct offshoot Of the classic Italian opera bua,
and the ingratiating voice Of Mozart speaks out
or many of It's pages its most pervasve tdiOm
has come straight from the tongues of the Czechish
peasantry, just the characters their picturesque
garment and their fascinating dances have been
COPIED from everyday life as II exists in Bohemia.
How dear the opera has become TO the hearts Of
the Bohemian people had a present and vivid
illustration in the fact that weeks long before
date had been fixed for the production Of the
opera over 5000 had been sent to the opera
house by members OF New York's bohemian
colony for the purchase of seats for the per
formance. The enthusiasts hand last
night and cared for it that every appealing feature
of the opera received uproarious tribute of
applause
Local concertEoers have long been familiar with
the overture The Bartered Bride which has
figured programmes sometimes under its
proper title. sometimes Overture TO Comedy"
a designation which may have been suggested by
DR.. Hausick's remark that il would serve
introduction TO any Of Shakespeare's comedies,
So II would. with its infectious and rollicking
spirit: but II remained for last nights production
disclose that its principal themes borrowed
from the music of the finale Of the second act.
After this finale has been heard the humor OF the
effervescent fugue which forms the main body OF
the overture becomes doub!y humorous. Because
Mr.. Mailer himself a Bohemian and plainly
ardent admirer of the music Of his great country
for he put the overture on the programme of
one of the concerts of the Symphony Society which
he conducted early in the present season. did not
wish to waste the overture on late arrivals the
opera. he played It between the first and second
acts Then. though It was safeguarded from dis
turbance. II had more meaning than it would
have had at the beginning II it were played be
tween the second and third acts its effectiveness
would be increased tenfold for then II would serve
one Of the purposes Of betWAen-acts music, which
it may be said ought bridge the moods with
which scene ends and the other begins
In neither place. however is the overture anti
climax like the third ''Leonore' when played (ss
II probably will be tonight after the dungeon
scene IN 'FIdelio'' II is significant that con-
ductors longer willing 10 play good Overtures
to empty boxes stalls or the accompaniment Of
slannning chairs and moving feet This unwilling
sometimes brings strange things in its train
when Mr.. Campanin at the Manhattan Opera
House. two years ago played the overture to
'Dinorah" with its choral episode. after the first
act or the opera, though understanding of that
sct depends upon knowledge impaired 10 tho audi
by the episode in question. II is not alone the
public that is Indifferent the texts OF
in a foreign tongue the details of the stories
which they tell. Many OF operas stl little
more than concerts in costume.
The music of The Bartered Bride" roots as has
been intimated. in the style OF the classic opera
buffa and frequently sounds like a Mozartean ut
terance The reference was intended to 20 10 the
forms employed. and also to the melodiousness of
the score. Much Of the dialogue (Which orig
inaly spoken is carried in recitative which is
frankly od-fashioned. though some Of the singers
night sought achieve greater naturalness of
effect by occasionally dropping into the speaking
voice. a useless proceeding. 1t is better to keep
every element Of the lyric drama in the realm of
ideality which is its home. But the old forms 1--WE
the buffo songs, solo and ensemble of the Mo
zartean period) and the perpetual gush IF vocal
melody, sound strange in the work Of n composer
who was a devotee Of Wagner and his methods
The Battered Bride written in 1866. when
Smetana must have been familiar with Tam
hAuser." ''I.ohengrin' and Tristan und Isolde"
Like Bizet, he had to endure the accusation of
being a Wagnerite In his operas but it is doubt
full il of persons OF the thousands who
listened with ingenious delight his music last
night could have pointed out anything IN 1t the
fruit OF Wagnerian suggestion What there OF
such fruit lay in the flowing flood of instrumental
tune which buoyed up the vocal melody and
flashed and edded and threw it's glttering spray
above and around its contours most caressngly and
bewitchingIy. This is the kind Of Wagnerism
which may be found also in Verdis "FalStaff,
which, despite its modernty, also Consorts AMIGA
bly, with lie Nozze di Figaro Mozartean also
the score Of THE Bartered Bride in character
ization What a delightful of natIonasm in
the large role assigned to the clarinet. which may
not ineptly be called the national instrument of
the Czechs; what delightful humorist is the bas-
soon in the comic scene between the marriage
broker and Hans; what vivacIty and lustlness are
in the music well action OF the national
dances!
The opera is strung extremely slender
probability. The lover of the play agrees for pay
10 renounce his claim upon the hand of the maiden
who loves him. He barters his bride But the
writtep contract contains the stipulation that she
shall marry no but THE of Micha.' There
is a of Micha' for whom the go-between
wishes procure the pretty maid and her prettier
ducats but he is a lout, who shutters in his speech
and is obsessed by impedinent OF the mind.
But though the others do know H. Hans the
hero Of the story is also a son of Micha'-of the
same Micha. indeed. though he is doing mental
service In the house Of the pretty Marie, having
departed the house of his father IN the adj
joining village when that father provided him with
an unamiable stepmother. After his seemingly
heartess conduct has made Marie fearful and then
so angry and desperate that she decides sacrifice
her love and marry the Of Nicha" out OF