New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-11-15

nent OF sympathetic attitude between
the old opera and the modern spectators
| Armide" is a romantic opera Chivalr-
aho experimentation play large part IL
IT, and 1t was no doubt agreeable to fine
HOW devices in modern stage mechanism
| cohid be employed TO make it delectable ie
modern taste. The enchanted garden 81
tne Damascan sorceress recalled memories
OF hiingsor's magic realms; the naiad VINO
moved gracefully about in the plado
waters of the brook recalled memories u
"asners Rhine nixies-the zephyrs tha'
carried of Rnaldo and his chsrmer on
Ileir couch of roses would never have been
mao not NJ. Gunsbourg made an opera OUT
Oh berlioz's "Damnation de Faust ~
lhae the sylphs might float through Hie
dreams OF Faust sleeping on the banks -
the Eide That Armida should suggeS'
venus and Kundry was inevttapie
TOT they are Of tribe. and though theio
| came a temptation to smile at the insehu
| BUSINESS OF poet and composer in having di
exorclsm of one KUndry follow hard Oh tiie
heels or another in the fourth act, theSe
Things were not made a bit inCcnsruoLs pH
the archaIsm of the music On the con-
frary. a greater charm went out from the
music OF the scenes OF enchantment taan
from the accents. which ought to nave
stirred the emotions and imaginatlons OF
the audience in the scenes of tragic I'M
port-the alternating tempests ~ love and
hate which tore the heart CT the play
/ heroine. Here 1t must be confessed that
the music of the opera sounded less moving
than that of ''Orfeo" which our people
know from representations in the opera
house, or "Alcestis - which might be known
from the excerpts which used occasionally
to be heard in our concert rooms. There is
a superb chorus at the close of the first
act OF Armide, but il pales its fires IN
the presence Of the Choruses in the TWO
lyric dramas in which Gluck celebrated
the passion Of married lovers. So there -
strong and splendid dramatic utterance in
the scene. beginning ''Enfin il est dams ma
puissance." in which Arrnida empties Iier
heart Of hatred in the presence Of the
sleeping Crusader but IT scarcely reaches
the height of Alcestis's invocation Of the
Strgian divinities. AS for the rest. there Is
far too much song ami spectacle in the
opera in PROPORTION to its dramatic action.
and shall be surprised if SignUr Tosca-
mini. having shown his devotion 70 the
work by giving il in its entirety, does net
promptly go 90 work to eliminate soma IF
its unessentiais
If "Arrnide" vas incorporated in the local
list 10 widen the opportunities OF Signor
Carrso the purpose was accomplished 10
the extent Of one-half. Its music is a
splendid vehicle for the singers matchIess
il in a noble and dignitied manner TO the
complete forgetting OF the extravagant
pathos which he has so long affected in the
operas which have brought him his great
est popularity and worked the greatest
harm TO his voice But the hero of Tasso's
''CTeruSaIemne Liberia Is a sorry figure as
Sieuor Caruso ernbodies him for the eye
The tenor has grown stout in figure and
almost ludicrously awkward in movement
When he disposed himself for sleep in the
enchanted garden last night il was i'm
possibIe not to feel an apprehension that
the smiles numerous spread over the
audience might become audible. 1t was
really painful moment. and that the de-
sire TO laugh was suppressed was higher
tribute TO the singer than an outburst of
applause at the end of his enhancing song
would have been There is no way out
Of IL; if Signor Caruso wishes TO embody
physically the romantic hero OF the first
crusade who has inspired SO many poets
and couposers he must at least put him
saIf into the hands OF an ingenious and
resourceful dresser
Madam Fremstsd was happier than her
COMPANION in every respect She looked
acted and sang her part conVincinsly and
t-iurr,phantly It was she who dominated
the work so far as the too loquaclPus
O11trault who had to spread pauc1ty OF
dramatic action over five acts in order
m conform 10 the laws OF the Academic
would permit her. She was much nam
pered bv her female companions. who
would he singing. and her gorgeously clad
retirue who danced in and out OF sea
SON Vet some of those companions were
able coadiutors and deserved well at the
hands OF the audience. Especially was this
true Of Miss Gluck, who, as she had done
in "Orfeo'' last season, proved herself TO
BE- the best stylist in the company 1t was
pity that she vas not permitted 10 sing
more since the TWO characters in which
she appeared had so little 10 do with the
action that It vas inconsequential how they
were in1personsted- It would have been
further ravishment Of the score had she
sung the song of the naiad. with Its ex-
nrIisite echo effect Ia device already archaic
IN the time OF GluckD which Mrs Rappold
spo,led bv her impure information Sisnor
A-,ato aIso distinguished himself by his
0oelod:c delivery. impassioned but pure and
Mr. Dinh Giily by his exemplary diction
Nor should the tasteful singing Of Miss
Sna-kes be passed without notice or the
Jealous effort of Nine Homer. in the trying
role Of Hate. But here a discussion Of the
srvle called for by Gluck's music, for which
there is neither time nor space to-day, is
invited If old operas are TO be revived,
nerhaps in the fulness of time We shall
also experience a revival Of the old art
Of singing which they call for as they call
for intelligent attention TO the ballet Com
roent upon the sumptuous and effective
sdornment of the opera may be reserved.
with other things. for later day. The
n-odr1ction OF ..Arrnide'' was an interesting
incident in local musical history. and the
names of those concerned in II deserve to
be preserved Here they are:
Renaud. e-aIico CaIusp
liidraot -fasQuhIS Una"
la H6ine -iN'd4ec
Sidonie I@>iiJia Ep0I re-
Phentce NEUTRALITY-SUSPICIOUS. Jeanne hlhuoouI
T1-ci7de -.-..-....... Alma Gluck
1-[sl5e .-.------- Dinh CiillF
lie Chevalier Denois- A1seto bdla
a--sn1{dore. iAlperl tleiss
ro-7t. ........... Andrea de SesuToia
nc Naiads MAR re is0pP'I-
IN Plasir- -A'li.e> '4H
Conductor. -EaflGIy