The Washington herald. [volume] (Washington, D.C.) 1906-1939, 1909-03-07
The Merry Widow.


II often happens in stage history that
some production will achieve a success
far ahead OF all others Of its class This
Is true both in the artistic and In the
financial sense. although the box-ofice
has latterly become the sole gauge by
which is determined the length OF life for
theatrical productions.
1.-The Merry Widow" has enjoyed a Won
derful success since its first bringing out
on this side Of the Atlantic. As luck
sometimes enters largely into these mat
tiers, Il might be well to point out that
this operetta came forth at time when
the public taste in this country was sati-
ated by succession Of musical comedies
which were for the most part fat and in
sipid. the financial success Of which de-
pended only upon some sensational fea-
ture to attract the desired dollars. These
shows were practically thrown together
over night. Having little or no sponta-
neity about them. they scarcely ever lived
beyond the regulation season. and it got
TO be so that the expression musical
comedy" was no longer one with which to
thrill the public anticipation
Into this miserable slump into which So
called light music had fallen came the
revival of the Viennese operetta. BY re
vivaT' is meant so far as the United
States is concerned. The continental fla
vor of 1.-The Merry Widow" made an in
slant appeal TO the present generation Of
native theater-goers. The Partisan flavor
was about all they knew about things
continental. and any traveller will confirm
the statement that Paris is not the con-
tlnent: that Vienna, Berlin. &c. tolerate
no base and slavish limitations OF the
French capital.
Undeniably, however the principal rea-
son for the success Of The Merry Wild
ow" lies in the beauty and purity OF the
musical score. The waltz music Of VI
emma, since and before the days Of Johann
Strauss, has been the model for the whole
world. The power to tickle the popular
ear and at the same time yield 10 no
temptation to sacrifice the dignity of the
meaning Of music Is a rare gift. Franz
Lehar in his compositions for ''The Merry
Widow has proved himself the greatest
sxempiar Of that school OF operate music
known as comic opera whom we have to-
day. OF course, after the success OF The
Merry WiGOw" it was inevitable that a
perfect avalanche Of operettas OF this
class should descend upon US. and for the
time being. if only on account or the re-
lief il gives US from the everlasting vapid-
ity Of the native musical comedy, Il Is a
visitation that is an advantage 10 US.
Music Of this caliber is an education. II
soon becomes a standard by which infe-
rior successors are judged. We have re-
Gently had one or two other operettas
from the Viennese school which have
pleased US we'll The Waltz Dream can
he accorded very favorable comparison
with The Merry Widow" and while the
former had considerable continental at
mosphere. vet il lacked the warmth and
color OF the Lehar score. THE Merry
Widow fairly vibrates with harmony
and rich melody from the predominating
waltz movements 10 the more unfamiliar
yet equally wonderful marches or the
wild Hungarian czarda which opens the
second act. This aforementioned compo-
sition has scarcely attracted the attention
which it deserves. Through it Lehar has
oiOuBht Us very NlFlu ILLUSTRATION OF
Magyar music. the whirling. passionate
dance. the Wild shouts. the almost fanati-
cal way in which the people OF Southeast
ern Europe grouse themselves TO intense
excitement.
Taken al in all. we shall not again hear
the Ike Of 1.-THE Merry Widow" music for
many days. II outranks anything Of the
kind which our native composers have
produced, and they VIII not excel II. or
even equal il. until they have learned
that music should be the inspiration Of a
composer and not made TO order at so
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