New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1909-01-12
MUSIC
METROPOLITAN
HOUSE.
OPERA
H Repetition of LA WQlg.

why the nrSt euortS or the general manager OF
! the Metropolitan Opera House and his prin-
| cipaI italian conductor should have de-
voted to the production of two operas which have
never established themselves even in their native
! Italy will probably bewilderment 10
the future historian Of opera in New York. In the
present heated condition OF the public mind several
explanations might be offered and accepted. though
they would be humilating TO the adrninstra
| ton of the proud lyric theatre IN upper Broad
way. Many friends of good opera are fearful Of
| the influences which emanate from Italy; they
dread the policies OF Italian lmpresarios italian
publishers and Italian singers. and would not like
| to them dominant here. There is of
alarm. 1t is not likely that the vicious features OF
| the foreign system will he permitted TO take deep
| root at the Metropolitan Opera House, which
| represents much that is Enthusiastically
| American from a social as well as a financial
point OF View. that its owners will always have
| watchful eye upon IT. It would much better II
those owners were themselves the purveyors OF the
entertainment, as they were during the years
| or the German regime. and were to administer the
| AFFAIRS Of the establishment as those Of the best
municipal theatres OF Europe are administered
But since this does not desirable them. they
will. doubt, find IN the powers which they
| have reserved to enforce a high and dignifed
standard upon the lessee company. It is likely,
at least. that they will again be called upon
buke the director uf the house for the detestable
| character of one OF his offerings was the case
! with Mr.. Con-ted and "Salome"
It is little singular that the production Of 'Ie
Will" the first of the italian novelties which
have been brought forward though less interesting
and in every respect less valuable than the second
| lie, Wally," nevertheless had the greater measure
of justification. Puccini is the man of the hour
There some reasons for regretting the fact but
there is no gainsaying it. With three operas
-"Boheme.' "Tosca" and Madame Butterfy"-the
most popular in the current list with pleasant
memories OF 'Manon Lescaut" still lingering in the
popular ear from the performances of last season
| il seemed but right that the first of his operas
which, though never successful has contrived to
keep alive, should also he heard. The plea
| pecialy valid from historical point OF view for
| lie Viii" while not great work, and greatly
handicapped by It's book nevertheless reveals some
| OF the genius OF Puccin which obscured by the
extraordinary enthusiasm awakened by the out
burst Of the style of the reasts Only the
| first fruits Of the composers who started the
movement which overwhelmed PNlccini in 1890
remain while his operaN have gone steadily
on gaining in popularity. 1t the mis-
fortune of lie WIZ to have been com
posed moment when the musical taste Of
Italy was in ferment The so-called progressfsti
had cast Off allegiance TO Verdi and seek
ing to enroll themselves under the banner OF
Wagner without thinking that In principle and
method there was an insuperabls barrier between
their artistic natures and that Of the German
master. The revolution had been going ever
since 'Lohen grin had its first presentation Bo-
logna IN 1868. but nothing it until Mas
! Cagri piecinE together shreds and patches on
which he had long been at work, carried on the
LOnzagno prize with "Cavalleria Rusticana-" II
fashion. and all who followed It found en-
couragement with its publishers. who at the Theat-
rical Exhibition Vienna 1892 able to
| less than four composers with OPP
eras fashioned IN a general way after Mascagni's
nerve rasping little work. They were "Pagliacci
| by Leoncavallo: III birichino.' by Leopoldo Mu-
gnone; "Tllda," by Cres," and "Maa vita" by
Giordano.
AS it had the misfortune Of lie WIZ to
| appear before the spirit had been awakened
| il was the bad fate Of Catalan to bring out hi,
| If,yfF han
| carried off its feet by the movement Gaia
lani belonged 10 the Verdi faction. If there Is any
Z value IN the evidence offered by the music Of La
| Wally." His previous efforts had been made II
! the period which is described as follows In The
; latest book operatic history:
Italy had become sterile. Verdi seemed TO have
ceased writing. There were whisperings OF an
Tago' written in collaboration with Boito. but II
was awaiting ultimate criticism and final polish
| while the wonderful old master engaged IN
| revanping some of his early works. Boito was
writing essays and lbrettos for Others, with the
| unfinished 'Nerone' lying in his desk. where IT Is
| stu hidden Ponchieln had not succeeded in get
| ting q hearing for anything since La Gioconda
| F-xpectations had been raised touching an opera
| 'Detanice, by Catalan but cannot recall that II
| ever crossed the Italian border. The hot blooded
| rounC verltists who soon to flood Italy with
| their creations had not yet been heard OF.
| Verdi cared little for the raging OF the youthful
elements about him, doubt recognizing some
thing Ike Chauvinism IN the affected indifference
| of SI4A
| Don Carlos which had been composed FOR Paris
| and "AIda" written for Cairo. The true lovers
OF the Italian style knew the value OF these works.
| asnecally Aida" and Verdi and the Records.
his publishers held on to their following among
whom was Catalan In the fuiness OF time the
venerable Italian master. whose growth remains
| an amazing phenomenon, compare BILE with that OF
his great German contemporary rival. wagner,
broke his silence with "Otello QSSD and FaIstaH
0sq1 If Verdi represented the "old school, there
was no danger OF its extinction after these "oIA9'
which are still miles advance Of everything pro-
7,ced nv his successors Thus. IL may De SAID 'uat
CataIani was justified in his faith though we can
SEQ nothing in La Wally'' that is not compassed
b,, ADD" and "Oteuo." "Falstan' was as plainly
bavond hie horizon as il of that or MS more
successful rivals. AS for the young composers WHO
belonged TO the Ricordi fold, their measure was
taken in general when. at the opening OF the Met
ronoIitan season of Iso-'91. Franchetus 'Asrael
made its fasco and the policy of the directors OF
the establishment In trying to replace the Was-
merriam drama with Der Vassal Won Szigeth' can
| Italo-HunRarian opera by Dalmatap ana
| Diana Won Soange." opera composed forty
wears before by a royal duke failed
The hook of La WaIIy" has been sufficiently dis
cussed in this journal. The melodramatie story on
which il was based the admiration q German
>-outh of the long ago. who saw creature IN
CeierwaIy (thaJ is the original name OF the herone)
as fascinating as their elders saw in Fanehon' Inc
l.,oI,a+ >, Who was the creation OF Nine. Won
tIu1arns mother Charlotte Brchpfeiffer The story
was worked into effective shoWplece oy SlshoI
mica and Nine Won Hiern felt herself so hattered
nv the opera book that she herself made the trans
| Iation into German. As such Things go saving anu
e1ceptinR it's mapifod errors. ncongruities ana ao-
! surdities. as the lTSal piedu'l ~ -
effective play
There is much beauty in some or the songs espe-
tally that of Wally at the close OF the nrst acI'
hut very little beauty and less eloquence IN the