New-York tribune., 1911-01-05
MUSIC
Tristan und Isolde" at the
Opera.

There has been no time within the guar
ser OF century during which wagner
Tristan und Isolde has been known 70
the local public when performance OF the
great love tragedy did not furnish forth an
ample text for discussion When IL made
It's first appearance, however. occurrences
at the opera house were not supposed 70
have so much sensational news interest as
they have now. and the journals paid much
less attention 10 II than they have
done since 10 operas which have come,
twinkled in the armament for few weeks
and gone out forever. The Tribunes TO
viewer caused surprise, not unu1ixed with
curious amusement. by producing serial
criticism which extended over three days:
but there were no reproductions of the
scenes. no portraits Of composer manager,
conductors and performers no mysteries.
In short Wasner's masterpiece. though
wholly new to the people Of the United
States. did not cause one-tenth OF the COM
motion excited by the Italian "Ciirl OF the
Golden West" Since then composers OF
newer works have tried 10 lift themselves
into significance by depreciating the must
cal dramatist without whose example
they would never have secured
hearing even among their own coun-
trymen. the latest and most fagrsut
example being Debussy: but what
a superb vitality still lives in Wagner is
demonstrated every time that Il is brought
forward again at the Metropolitan Opera
House. There have been many perform
ances made memorable BY the achieve
ments OF sinzers-as when Jean de Reszke
succeeded in making N the opening work
OF season, and when he, Nine. NordIcs
and NJ. Seidl so freighted the atmosphere
Of the opera house with the sheer charm
Of its melody that an ecstasy fell upon
even those Monday night subscribers and
boxholders who tilI then had thought that
the only music which could touch their
souls was that Of Faust" or Romeo -
Juliette': but il has been long since the
drama and its music so svsyed an audi
erce as II did last night.
II was NOT without significance that much
of the moving power of the work went ont
from The conductor, Signor ToscaninL who
has bestowed vast energies this season on a
very different order Of music. But Siguor
'roscanini has accustomed US 20 this sort Of
thing His heart IS in all that he does,
and II must have throbbed ike pas
sionate lovers when he evoked the food OF
orchestral song and realized that II was.
after all. only the stream on which the
vocal melody given out by Mines. Frems ad
and Homer and Messrs. Burrian. Sooner.
Hinckley and others foated. Neither was il
without significance that the performance
had a prelude which, couched in a tone OF
apology, might better have been chanteI in
voice Of graduation. Nine. Lucy Weidt
was unable 20 sing. thus ran the happy
apology, and Nine Eremstad, whom il-
ness. together with that OF others, pre-
vented the representation announced for
Decembar % had kindly consented 70 sing
In her place IN Difference to the request OF
the management" II such substltutions
are to be a rule at the Metropolitan Opera
House K might become a pious wish that
occasions would arise more frequently.
Nine. Fremstad found not humiliation
but inspiration IN being called on 10
take the place OF A colleague. She never
sang better: II even seemed as II she had
never before sung so well, with such ex-
quisi:e balance between declamatory DOW
er and musical charm, and her spirit was
caught by Mr.. BurT.an and all her asso-
ciates down 10 the last man in the or
chestra. II was superb performance
which did not even invite thoughts Of the
scenic outfit or the brtllancy OF the au-
dence. II was more 10 the purpose that
the audience was under a spell which made
# forget the proud picture which II made.
| The cast deserves TO go on record: