New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-02-09
MUSIC
xEw OPERA AT TIE NE"
THEATRE.
,us Attaque du Moulin.


=. are not inclined 70 credit
- SINCERITY touching their phiisn-
-.osss-.hst profound peace pre-
.-r.-,,,,. C-ilris1endoTTl. except n the
.-.rt,- revolutionary Central American
- - The dark winged spirit o. "sr
-..--.-- s-,vuhere else II ChristeEdoIn
-.o- snd revel might we not nave a.
- l.,,see. with the Germans DRIVING
80 NJ q their country after the
.-,a,s VICTOR % Leipsic, TIC FrenchT1lan
- re PrIssiaus % fight al Inc -'e"
- and the Spanish Carlists ana span
- republicans fogging eacn olher al MI
- - 5,r,,Sa Nine. CAVE is not
st 1llis 5urctu7e. but La NsTaT-
-. v-or5ls surely not long be kept on the
- With our German born fe4iow
,..i-f7e 81 with chorus IN
-, Wide. verEegene Jasd nov
$3.50 il sounds n Itai6h- > III
-is and our Gallo contin-
+o7.-s-c -'Tictoi7e - after the
..f-r Pr-lssi4ns n Il Atteque GU
- +ha opera which had its hTst pro-
- ~ America al The New theatre
trh. 81 course there vas no special
- &c ~ the first performance OF t~o
-. ,-,e-ss IL the same season by the
.---,- - ne METROPOLITAN Opera HOUSE
y,,-,e5 and his German cohorts
- themselves with the produc-
=. .t-e-r1a1ia- and the French contin-
.oS BROUGHT forward L Attsqle Gu
St without his help But both OF
-..A ,-o6-c-fons were under the care OF
60 f,sr-i-s~asazza. who IS entitled 10 be
80 -,or SIS neutral il political matters
- rozsr Moreover. 10 one who has gone
sg,s- A.. small distance into the political con-
5r-,o-e p~ers ling al the Metropolitan opera
r-o,sa needs 20 ae told ~hy the two operas
--.--e5 70 p rs-oduoed this season The
demands Of firm II Italian music pub
r.s-e-S read u effect IL no novelty from
e-.- 7-e5s. nc Puccini." Hence 'GermaI7ia-
II Eau-e-stein has threatened the pres
re Of she house n upper Broadway BY his
successful production OF French operas
Hence Ia t-auue d. Moulin There was
no available opera r. Massenet, ard SO
zea-c- had Il De made elsewhere And the
choice fell on R-InesC's L AttaQUe.
On TIE whole 4 was not : bad choice
There are older and better French com
Pos4rs than II B-unesu. but few VINO
haze been more talked about and fe"
more entitled 10 respect >airt-Ssers,
7slo-7 v-e know on the operate stage only
r. --e composer OF Samson 81 Dallla- a
ro-a which e truly great and effective
c--v n The concert room. does not belong
70 ne school OF younger men Th@ write
criticisms as well as music n France. and
s-e 50 def al passing the Caodled STICK
ron mouth 70 mouth that they make for
ezc- other pages OF history. 50 nothing
= rs vas 10 D. expected There vas
TAX u something b. Debussy-but De
pg-s~ - more interesting from & literary
f-s- musical point OF view; and pre-
7s----z-- talk IS always II inverse ratio
20 performance a. our opera houses
therefore Ervresu vas reasonably nat
--zL Bs--.u7 VS. left out OF Considera-
ION o. COURSE Tor the world seems 10
e-s-e Frances fear OF the most gifted
sc-pcse- which she mas produced since
re Romantic period 81 in Yet Il
rro1.d have been interesting % Wit
-ass - experiment with 'Benvenuto
reu.ri~ o. Les Troyens . Carthage"
SUI al this IS idle re-Tospection and
--ee..ztieu.. T-e have -'L,A-raqJe d. MOI
-ir- Ia our repe-rory. and the fact ought 70
asuse 10 regret. The opera has q most
moving ard pathetic story al its base. Zoia
conceived il which means much II favor
0- i-s dramatic strength Louis C7aIleJ put
q, irt1 dramatic verse ard Alfred BrlueaU
Esr= Il musical --resJitU-e- Il Is, perhaps,
unfortunate fo~ our knowledge Of French
music that E-s1eal-E works are 50 little
E-gFl- Like many another young French
nan - started out with tne achievements
u RH.-h ''LAtJaqle gu Moulin Is onel
a-c -ler r-c-esraJLors. Al the beginning
n his career he fell under the spell OF
FzE0e-. bu- soon realized that the WaE-
7s--a- method. a understood by his com
patriotic, vas not wholly compatible with
% rs model s1d Try n -erG him Ike
1e5-zsr- but made On effort % unite the
74H German style CO dramatic expression
VIII ne old French conceptions Of elegance
I'd clarity de himself said '-concisenezs.
aso 5-t st+s- hearing his opera last night
Z II not possible 70 ssy that he Sue
csSst1-i- pursued this ideal He wanted
10 SAID - follow the great German IN MS
'-TlpE11.- treatment cf themes hut ne did
h'l Relieve T. 1e-esEarr 70 shuttle OF al
ne e-c formulas and 50 he gave the
N9-.r a- opera II which there is some
orchestral I-=v with typical phrases. which
eTa typical @-'- from the most arbitrary
2o--t q view except the rniiitar- signals
borrow e from -he French and German
HHassi s-6 - much Of me familiar senti-
mental melody style a. ,5o51nod, or his
7iaEie-. Mass47et. ever INDUCED Nothing
81 he dre-e-t- situations .'L'Atcaaaoue cJ
@0--i- which has = story designed 70
Keep nerves arl emotion on z tension and
ne mind on q C.i v-ve from beginning 10
e''---s permitted % interfere with the cor
oseT desire -e w-ite Z SET piece Of music
-e'eFs- Re feels IKE =. Even d sentinel
~ guard over e man Condemned 70 dealt
rs -s--s ~ r-lIe zrcur nome ano mother
S-l s7'ee-1ea-- W.T. the nonchalance Or
tommy atkins p-Io steps our OF the
'-F ooE II Gilbert d Sullivan operetta:
aoaga this che gets e. slit II his wind
pc 10y zHs f-netui pains. which he never
@91i2 nave received mad he behaved like
. German sold ler
-e' IS most s--.-s BILE IN Bruneau's
10 s tae effectiveness oT Us musical
his = IN the best sense I
ard ina COMPOSER did not need (
t1.a II e he 6tG some years ago II
~ telling aoH he had hir upon
i's ~ Speaking his text loudly and
nc nat.-as infections Of his voice,
'5- . MS emotions Such infec-
"-Te Inc 5eE1nninE % al emotional
3-+- ana one Of The inventors Of
''-rs- Carcl-i told US how ne had
'-oleo snc utilized them more TIA, three
CENTURIES age
opsse. as Hsz oeer. said. has fine
"@c1 vas aelI put together bv the
49, 5-- is made 100 dir1se for good
'- eject by The composers willing
--iz e . senr'rr- enJa. musician II vas
''- z outline y -rf~ -,.,r--,.r -. ~