New-York tribune., 1909-03-11

These pictures might, Of course, be introduced in
an opera with French German or Italian musical
investiture, but they become douby effective when
viewed through the atmosphere created by FIern-
lsh music This is recognizable first of all per-
haps in the large adnixture of bell chimes in
al the concerted pieces, which inspire the pop
uIar scenes, which a gathering of country
folk, with the inevitable milk carts drawn by
dogs. and procession OF young men, musicians,
poets, students, painters and sculptors in the
first act carnival In the second and
scene of merrymaking in the last. When DR..
Burney. in his memorable tour through Europe
(Which he has described graphically in his
Present State of Musc'O. reached Antwerp he
descanted first of all the passion for cariIlons
prevalent throughout the Netherlands. When he
got 10 Amsterdam he lamented the lack of all
music. except the jfngng of bells and ducats.
Last night Mr.. Hammersteins patrons were enter
tained by similar sounds. only in the
dialogues and the dramatic songs. solo and con-
certed that their saluted with the
imitation Of bell chimes in the orchestra. Much
of it inefectively produced that the thought
presented itself that liberties had been taken with
Mynheer Blockxs score, for surely something
better must have been IN his mind than sin
gle sonOrOus bell-tube. mildly tIntInnabulatory
Glockenspiel and a triangle. Still, here we had a
bit of local color OF the kind which harmonized
with the pictures. In the last act national
musical idiOms again had expression in the direct
and literal quotation of Flemish song (wrtten
by Prudens van Duyse), which must have amused
the hunters Tor lnelOOlc parallels. II Is SpleHulu
specimen Of tune, written in the simple folk-song
manner, but in its first period there is recognizable
strong resemblance to the famous political song
of the Netherlanders. ''Wilhelmus Won Nassauen,"
and in the second to American Sunday school
hymn CIm a Pilgrim ), parody of which mas
long afforded amusement college students in
this country This is one of the songs sung by
Bluts the perpetually tipsy tavern keeper, and as
given out by Mr. Gilbert Zone of the few thor
oughly admirable and efficient performers in last
nights ENJOYABLE.
Musical nationalism discernible to the
search of sophisticated minds, also in most
of the choruses, in which the opera is singUlarly
rich. Though they moved in dance rhythms, there
sturdiness in their melodies which published
the Teutonic rather than the Gallo spirit. Also
soundness coupled with elaborateness OF structure
ordinarily found in French operas. The climax
OF the opera from popular point of view is found
in the spectacle which concludes the second aCt-the
carnival scene. Here the motley gathering which.
crowds the Grand Square, singing and dancing
Ereets a procession which ends with the entrance
Of Rita and Merlyn, impersonatng Flora and
Zephyr, a gorgeous car, garlanded in protu-
sion with glowing flowers. The picture is remark
ablys dazzling such things go, though from an
artistic point of view il IS less gratifying to the
eye than the music of the chorus is to the
II is a masterpiece of choral construction,
exciting in its sorority heightened by the Ginning
of the bells, the booming of the drums. and yet
illustrating the composers employment of the de-
vice of the Wagnerian system of typical phrases;
y
the phrase which the composer has set apart 10
publish the glory Of Merlyn's art There typi-
cal themes for of the other characters and
their dominant passions (Rabos revenge Reinilde's
love- the diPsomania OF Buts. Ritas coQuettish-
ness etc. all carefully labelled in the vocal score
of the work but little of the development Of them
in Wagner's manner. There is, however. much
brilliant orchestration, and though most Of the
dramatic dialogue IS a weariness to the flesh Of
the listener whole OF the last act is mastery
in its treatment OF the elements OF dramatic eX-
lar scenes only an exquisteIy touching song by
Reinlde in the second act CPetite mere aimee
entire toutes'), with which the sweet maiden re-
calls Merlyn 70 a sense duty to himself and his
art lit is supposed to be Of his compositions,
and the drunken song Of BlUts C'Porte ouverte?D
seem to call for mention There many stretches
OF dreaEy waste in the
The greater part OF the appreciation Of last nights
audience was bestowed upon the spectacular finale
of the second act. of which second view was lie
rnanded. Of the individual performers, praise was
roerIted by Miss Labia (Rita), Mr.. Gilbert fBGtsg,
Mr. Dufranne always noble singer (Rabol, and
Nine Cerville- -Reache who If her vocal style were
commensurate with her voice, would be one Of the
brightest ornaments of the operate stage in all
countries to-day Not much Of complimentary
nature could honestly be spoken OF Mile. ZeppuH
CReiniIde) NJ Vanes (Merlyn) and Mr.. Craboe
(NIarcus). Fairly efficient musically and dramat-
cally they yet failed to disclose metropolitan stat
ure Mr. Campanini conducted, and held his forces
together with a firm hand IL T. h