New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-03-06

me single hairs breadth OF it's natural,
unaffected fascination. You lave no idea,
my dear friend. what strange emotions
pour through me when I sink myself in IT,
II is something wholly different from the
passionate ecstasy which a Beethoven.
Schumann or Chopin awaken In me-
There are other archaic touches in the
music which come with a pleasurable
shock to the knowing-and the unknown
ing. as well. Thus. after Pauline has
sung q beautiful romance for the deIec-
taton of her friends in the second act
she deplores it's melancholy mood and pro-
poses a song from the steppcs, in which
they joint Is ''Mashenka q folksong.
which is reproduced with fine preserva-
ton of its native manner and spirit. SO.
too when the old countess. returning from
the ball. rails al the decadence of social
manners since the days of her youth.
when counts and dukes were at her feet
in Paris, she recalls that once, in the
palace OF the Prince de Condo. at Chan
lilly, she sang a romance for the King OF
France. and she sings it, repeating 1T
again IN a murmur she falls asleep.
1t is the air from Gretry's Richard Coeur
de Lion" beginning: "Je Grains de 1ui
parler la mutt" But all these ingenious
with the dramatic music in the voice
of Tschaikowsky. and Tschaikowsky
only, when oas it might be said) the
dramatic issue fs joined, and lie tells Of
the emotions of Hermann and the luckless
Lisa Not only in his orchestration, which
IS admirabl eloquent always, but in his
themes and their development, he discloses
genius for dramatic expression which is
remarkable, and for which not even his
symphonies and symphonic poems had pre-
pared us. The music put into the mouth
of Hermann is as If written for Herr
Slezak, and in voice, figure and action he Is
naryeliously moving and convincing. IL
reeds q fine actor as we'll a fine singer
to- disclose the gradual dissolution OF a
character innately noble, but this artist
is meet for the task. and accomplishes it
perfectly. As perfect in its way is the
representation Of the old countess by Nine
Mejtschik, fer whom We could wish no sub
stitute. As for the rest, since this review
must come to an END. 1t remains only TO
utter words Of appreciation and gratitude
for Miss Click, Miss Wckham, Miss Des-
tim (who sings much better than she looks
and acts and Mr.. Didur. The opera is
beautifully put upon the stage and its re-
ception was enthusiastic.
The opera was produced under the direc-
ton of Gustav Mailer. who brought 1t for
ward also at the Court Opera In Vienna
in December. 1902. when Mr.. Slezah ALSO
took part in the performance. Rare inteli-
sence, sympathy and finesse marked Mr..
Mahler's work. The characters were dis
tributed as follows:
Hermann ..-..... .s|No IsInN
Count Tomsky OBSERVATION-DISCLOSURES. Adanlo DiduT
IT1Ece JSietZky- .:loiin T otsoiI
tZeEaifHsEE " ilitrIii cNt'
Tsl.rin Adolf MuhlmaDn
IscfapitZky -tfielii ti6Il
NaI1,rnnff Observation-Disclosures. Anton Ludwig
Ihs countess ma Ht+itS,nlES
Pauline ...--.........--.....-.F Florence Nichhatl
The tTpNerfSse MAJ IS
Mascha Observation-Disclosures. IsnoraL Sparkes
Guests promenaders, masqueraiers. etc.
Characters OF the interlude
Chlos OBSERVATION-DISCLOSURES. Alma Gluck
Daphis Cfaulnel.
Pinitus tT'omsky'.
JpaDse BereNre by Ivy CTaske and corps dc ballet
Time aud place, St Petersburg, end Of eighteenth
century