New-York tribune., 1910-01-23
any appealing touches of detail intro

miliar foIksongs OF Germany, 80 viel
Stern am HfmInel stehan-" which a poor
old woman is overheard teaching TO her
nephew. At a gathering OF patriots we
are introduced to the counterfeit present
ments (mostly mute) Of such historic per-
sonalties as Palm. Loewe. Ffchte Hum
boldt, the Sehlesels, Theodor Korner.
Lutzow and Carl Maria Won Weber When
the last three appear. In The company of
their patriotic brethren there Is a spen-
taneous outburst Of the chorus In the stir
ring song, "Lutzow's Wilde Jagd" which
the veritabie korner wrote and the verita-
bic Weber composed and which was a sort
of German "Marsailaise' during the last
year of Bonaparte's European domination
1t was pretty impulse which prompted
the introduction of these elements. but In
introducing them the librettist and COM
poser played havoc with the verities of his
tory. The period covered by the drama is
from the capture of Palm TO the battle of
Leipsic--Is9s TO October. Is13- At that
time. though the melody OF the love song.
So Wei Stern known, 1t had not
been printed to the words which are used
in translated form In the nbretto. but was
sung t. words which would have served
the lbrettist better had he known them.
for they began, 20 du Deutschland, tch
muss Marschiren." There is error in
the use Of the old students song, "Gau-
deamus igitur' (which. by the way. n. P.
Willis is credited with having introduced
in America). but there is a dreadful anach-
ronism in everything In the opera ap-
pertaining TO Korner. Weber and their song,
'Lutzow's Wilde Jagd-' The prologue in
which IL is sung is supposed to play In 1906:
the sorg Was written by Korner on April
"A. 1913. and composed by Weber in the
summer of 1914. Voices blend in snatehes
of Weber's Wilde Jagd' already popular.
says the iibrettist in one Of the glosses
which serve as stage directions. Popular
eight years before it's creation But this
is only one of many blunders. some made
by signor Illica. some by his translator,
the latter not knowing when he made his
English version that the city which he
calls Monaco is Munich. But these mat
ters- though they may call out smiles. do
not affect the effectiveness Of the opera
1t Is effective. Its pictures are beauti-
full. Its political element is ingeniouSly
used TO emphasize the pathos OF its love
story. A soldier-student returns from his
country's service to his love- In his
absence her ruin has been accomplished
by one of his friends. He does not learn
the fact until after he has made the
woman his wife. Scarcely have the mar
riage vows been exchanged when the
friend. who was thought to have been
killed In battle. staggers into the home
OF the welded pair The woman had
promised to hold her peace because she
wanted no murder. The seducer cannot
face the ordeal with which he has been
confronted. In spite of his friends pro-
tests he insists on going on his way The
L1.v~ ,s~
of guide. The wife. no longer able to con-
troll her emotions, writes word of fare
well and rushes of through darkness and
storm. Her husband learns the truth from
the innocent prattle of child He seeks
him of whom he is now a deadly enemy,
a a meeting OF the patriots in Konigsberg,
denounces him, insults him and eompels
the man. who is overwhelmed with con-
triton, to accept his challenge TO a battle
with swords; but even as the blades are
crossed there appear Queen Louise and her
child. and asks that the blades be used
in the service of Germany. The husband
forgets his private wrong and the two meet
their death on the battlefield Of Leipsic,
where the wife finds her husband dying
and her seduceF dead.
The story is well handled by the Iibret-
tist though much that is inconseGuential
has been put into the book and Its COM
mentary-the stage-directions 1t has
been treated with skill. which frequently
rises to an admirable height. by the COM
poser. Signor Frauchettfs style is en-
pirical. He oscillates from Wagner to his
modern colleagues. makes attempts at be-
ing German in style. hut falls back upon
the early Verdi when he becomes most
fluent. He uses Weber's thrilling song
with fine skill. and the manner in which
the chorus sang it yesterday set the blood
to leaping in many veins. The deiineation
of battle in the symphonic fnterlude and
the way in which the mood of the final
scene-the epilogue-is preserved are both
mastery. For Signor Caruso and Sisnor
Amato he has provided characters of COM
pelling power, dramatically as well as
musically. Unhappily, there is but one
side to the character of the woman which
Miss Destinn presents with much
power as its cOnventionaltJy of type per-
mits. OF the others only two can be
chosen for special commendation-AIiss
Sparkes, as the beggar boy Jebbel, and Mr..
Didur. as the clergyman Stapps Ia Pres
byterian." says the sage Hbrettist). The
opera was received with many expressions
Of appreciation. All the singers and Signor
Toscanini were called before the curtain
repeatedly The cast was as follows: