New-York tribune., 1909-12-11
MUSIC
"TANNHAEUsER" IN FRENCH.

TANNHAEUSER" IN FRENCH.
There was a reverSion TO an old custom
with difference and a vengeance at the
Manhattan Opera House last night when
Mr. Hammerstein's forces performed wag-
ner's 'Tannhauser'' In French In the
olden days at the Academy OF Music and
the first season OF the Metropolitan opera
House the official language OF grand opera
was Italian. and in that language French
German and even English works were ac-
cepted as matter OF course. During seven
years at the house IN upper Broadway the
official language was German. Opera was
an exotic: IL still is. but it's roots have
grown stronger and struck deeper into the
soil Under the administration OF Mr.
Stanton the list. though predominantly
German, yet contained some OF the large
French and Italian works ''IOhengrfn'
had won its way 20 the hearts of the
multitude before that multitude heard a
word OF II in its original tongue. for there
were not many operagoers who could recall
the few performances OF many years be-
fore In the Stadt Theatre I'm the Bowerv.
Old operagoers can recall how the first
German performances under Dr. Leopold
DamrOsch taught them that even the ex-
cellently euphOnious performances with
Nilsson. Cary. Campanini and Maurel.
taught them that the use OF the Italian
text and the Italian manner had let out
deal Of the rich, red blood OF the opera.
In the course OF the regime OF Abbey and
Grau came the Introduction of the system
which gave back TO the music OF all the
operas the words 10 which the composers
had welded them. Then millennium seemed
to have come. with only one daring hope
u, sF
opera might be indigenous and rationsI
and the vernacular come into use for all
schools.
Mr.. Hammerstein's devotion TO French
works has resulted in one essay which
points TO the possibility of a return to the
custom OF a generation ago. with French
substituted for Italian. "Tannhauser'' in
French is as great an anomaly in New
York as it would be I'm Milan. There was a
bit of fascination in the thought which Mr..
Hammerstein's announcements encouraged
that the opera was 10 be performed IN the
version which caused one Of the greatest
scandals in the artistic history OF Paris.
But the pleasure Of hearing the work as IL
sounded when the Jockey Club whistled IL
OF the stage in 1851 and broke the heart Of
its translator was only in anticipation The
French words were there. but little else.
The opera began as il used to before
the Metropolitan forces introduced the re-
vised first scene In its German perform
ances The original overture was played
Then the curtain rose and we heard the
music Of the Bacchanale. but saw nothing
of the beautiful and significantly symbolicaI
chOregraphic scene with which Wagner
vainly hoped 10 satisfy the French desire
for a ballet. Yet now would seem 10 be
-ha raH fu1e he fe-r firrcf inn NJ
that spectacle with all thar lOveliness that
IL had in the high imagination OF its crea-
tor. Last night a few dancers rushed
through a Wild ring-around-a-rosy behind
sCme gauze. three dancers in white draper
les attitudinized in the foreground. there
was background picture OF nymphs and
nereids. and Leda and the swan, and that
was all. Everything was rude. especially
the orchestral music. and We were not
launched into the spirit OF the drama until
" Renaud, as Wolfram. came upon the
scene with a group Of Mr.. Hammerstein's
admirable men singer. and the septet be-
gan. For Nine Doria and SignOr Zena-
telIo had made sad work of the duet
In the second act new spirit took pos
session OF the performance. Mime. Mazarin.
without the vocal material for the heroics
which most German singers think essen
LdI To the music OF EilZdpeIls sang Win
nice intelligence and sympathetic style. and
IN the contest OF minsrrels Mr. Hammer
stein filled his stage with a picture fun
OF color and animation. and the choristers
sang thrillingly. while half dozen trun1-
peters, using the straight Aida trumpets.
sent their ffOurishes through the splen-
did mass OF tone and stirred the
dience into unfegned enthusiasm Then IL
could fairly be said that Mr.. Hsurerstein.
though doing an anomalous and perhaps
Unnecessary thing. had won another vic
tory. II was disJemper painting. but u
was beautiful and effective. VI Renaud
sang and acted with the same distinction
that has brought him admiration In a dozen
widely different parts, and right ably was
he seconded by NJ Waller, NJ Lucas. VI.
Huberdesu. Mr.. Scott and VI. Veuturini.
and Nine Mazarin, who put fine pathos into
her plea for the life OF the sacrilegious
knight Thereafter the audience felt thar
II had its reward. and gave expression 70
the feeling. though it had been kind from
the beginning.
This was the cast OF the first performance
in Navr TorL. Of S4rLs7-fr ~, EN-e,-b-