The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-11-20
IN The WORLD OF MUSIC
THE CHaRttTER or or fh'S
DECI
Few More " orb >hOut ihriNraninE NJ
'Grand Opera tarn-O'N ssIG->arri-
nctng Attempt spectators and
u1s-ra TIrket- A.cd Music hy a Bo,.

Os-ra Ti-Let- A.cd Music hy a Bo,
The production ~ GMrk- -Armidc'
AT the Metropolitan Opera House ON
Monday night ought - tIN" rank a. on''
Of the important artistic incidents Of
RECENT years n this ,I'v II may b" ac-
cept.d a. a ipr,guu, conclusion that the
greater part 81 IN" ol"rLgong public
will fail ~ ENJOY IA" most important
features Of the production Thus part
Of the public Will delight in ~" exquisite
pic,ur,.s. tho charming r.wulurs It IN"
Old French paste ballet ut action and
IN. larger airs
Ru, tn. uumi-rakahlr disappointment
Of MIR Carll-o.- admirers a. IN" natur"
Of the music he. Wa called upon tn sing
shows exactly pn'.r,' public appreciation
II this chast" and rOhlr Old on"ra'iC CT"H-
ton IL going Ia iall short To behold Mr.
Caruso STANDING, -,lll and singing instead
nr brand Shing M arr'~ nr "I-n.uE about
he stage IA the acting II ia" ,"nt"m-
uoran"ous opera was "a Itself diSappolnt
ing.
But when his admirers were compelled
10 hear hlm informing tn" long. sustained,
elegant aud soul tur"-,Iu-lN Cun"'iv Ell
phrases of GluCk : melody instead Ot
p.aling on fragmrntarv m"l"dIc "Nrla'na-
lions alternating with sweeping, PASSION
ate. highly Colnr"d arioSo ~ IN" exciting
P,iccini variety they We're without qu"s-
ton bored.
II would he interesting 10 hear PuCciuI's
views on th.. subject at Chuck music
~. would probably b" .shl. - point "ut a
great many r.,I- Nu- why h" himself and
all other musician regarded % Sl'h r'v-
.-cnce on. Of these causes - In" artistic
manner in which The great master treated
the text Yet this - one of the things
which the avrrag" Uprragu"r does not
notice
Too many COrlDO-er~ write. their melO-
lies or their d"csv alton with rtnd~
intent exclusively upon ih" musical
phrasaolngy Thus they often pr"iuc"
beautiful music. But the most 'r.I~"ry
examination shows that Il - rmpu--Ift."
To sing intrlllR'utiy tH" words attached
to il. Tn" accumulation 80 individual
words il wrong and tn" ,rnu'a-"s IN nan"
cIse. ont of ten are misplaced. For
example. a character may have TO ~aY
Ia this a dream. II i- Now In saving
II is- one in-tinctiv"iy pIt" ia" emphasis
on rs But CumI-r-ar> III thr ,I,-, gust
mentioned will put N On a.. 'I'- t"rIuS"
perhaps the tune flows NOR" easily then.
work.. is To write music which not ruly
places the accents and ~" emphasis
correctly hut which also heighr~us TN"
Clearness of tho outline Of each sentence
and at IN, same time iil.- that s.u'"uc"
with vital dramatic color Thu. j. great
and true art aud It ought z" command
the respect Il every music lover.
To sing this KIND # music correctly
the. interpreter must d"vut" d., study
- bringing out A. completely u- possible"
precisely the qualities enumerated. TOR
th..s.. AR, tbs. CharuCteri-tIC~ ii the style.
Not a singl. .laCuia'ory accent. NOT
single explua!v" tone can -" modern
dramatic singer inject into This music.
He must sing IN The. most literal sens"
nf the word sing and cnuuc.ate the teNt
clelniy
To do this requires noble breadth.
~,othnc-s and dignity %; -tyi" But 1t
- purely sculpture 49," s'yi'. VI has non"
of tn. extraordinary -f.','r- uf what may
h. called modern iruurn--i1ui-rn ~ lyrc
art. II j. -tvl" CLASSIC IN IL purity. ~
confluence and - tunnr" grandeur.
Every aggrcgat.1u h"htrl"- It Every
common trick offh" purullr opera darling
- AN insult - n
Now recurring - NJ CarI-, let IL be
grateful t. him 'or ~, self --acrIticinE sin
.ority II hi- "ud"t..r ~ -ius Gluck'~
music A. il ought g. hr sung The -tyl-
.. entirely foreign 20 NJ ,a-I-"- train
ing and nov a. al 'u.r'r.. At 20, Lis t.-lup"ra-
rn.nt YET h. 'na"s d. nrar" and earnest
and not wholly unsI r,"~sIf.i .>-Uv IN the
strange field
That H.. was not quit" happy r - THF
SrN noted on tho morning after the r"r-