New-York tribune., 1911-11-19
MUSIC
A NOVELTY AT THE OPERA
Thuille's "Lobetanz" Produced
with Fine Effect.

An opera new to the local stage was pro-
duced at the Metropolitan Opera House
yesterday afternoon. 1t was "Lobetanz'
words by German poet Of no mean faine'
called Otto julius Bierbaum, music by
composer practically unknown to America,
named Ludwig Thuille. To concede the
first matinee of the season TO a new work.
and that a German one, was something or
a stroke I'm operate management. Its real
or IMAGINED significance ought not to be
Judged hastily. 1t is an old story that
Saturday matinee audience accepts every
thing offered; IL cannot be frightened away
by work that has grown stale, so long as
popular names be hitched to 1t, and it can
always be counted upon to welcome new
work if for no other reason than that It
comes out on a Saturday afternoon. Yes
terday's audience was more than kindly in
its acceptance of the new opera. 1t would
be comforting to know the reason why.
There is an old joke familiar to musical
Journalists to the effect that a probably
onvious) confrere once remarked TO a friend
in Vienna that Herr Speidel, a respected
critic, would gladly give dollar or so if
he only knew what he thought OF the pei
formance. a joke. of course; sometimes
there is truth I'm a joke What kind Of
Judgment was possible after the fall Of the
curtain In the last act Of "LObetanz" yes
terday? The opera had begun as one which
was going to appeal &c romantic emotions.
II was reminiscent Of everything that the
public knew about sentimental opera That
worked no serious harm. What If there
were the Flower Maidens and the inter-
Ioper Parsifal in the first act, and after that
the meeting Of dozen or fifteen Beck
messers singing i'm grotesque nlimicry Of
the gathering of the minstres at the Wart-
burg? Thus the opera began. 1t ran into
neutrality-suspicious., solemn, heavy-hearted.
Still il was possible to enjoy the skill OF
the two authors i'm using the inventions OF
Wagner But when after its most original
and musically beautiful score it ran out into
the notion which obsesses the minds of the
musicians who write waltz operettas for up
per Broadway there was nothing TO do but
TO 20 home and reflect on the question
whether or not Signor Gatti had really done
anything for German opera i'm producing
"Lobetanz" The question is deserving of
serious consideration.
The new opera has been beautifully
clothed, and the best of the German voices
of the company have been enlisted in its
performance. Eut in producing "Lobetanz'
the management pays the compliment to
the German contingent among It's patrons
of assuming that the work, rather than its
performers, will make a popular appeal
The performance yesterday did much TO
make that appeal eloquent High. artistic
instincts would not. perhaps. have chosen
so prosaic an artist Nine. Gadski. no
matter how sklfully she sings the music
sci down for the character, to imper-
senate such an ethereal creature as the
Princess: but business" it may be fan
cied. called for a name. singer of less
repute but more appropriate physical and
artistic characteristics might have done
better. But singer and actor better fit
ted than Herr Jadlowker for the principal
mart fand "Lobetanz' Is tenor's opera)
could scarcely be found-one so ingratiat-
ing I'm song and graceful In appearance and
action Miss Sparkes deserves also 10 0e
remembered I'm this cursory mention. but
for the rest let the record of the cast suf-
flee I'm addition to an expression of admira-
ton for the beautiful stage pictures and
the fine work OF Mr.. Hertz, who had some
reward IN the recalls