New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-20

begged him to renounce his pardonaole
desire In Difference to an artistic IDEAL
| Stanton followed her advice. she also
advised him TO pay royalties on the Wag-
ner operas in the repertory although
under no obligation to do so, and had the
satisfaction of knowing that Mr.. Stanton
himself put in the hands OF Nine. Wagner
some 5000 or 700 marks or dollars (she
did not remember which,, for which he
| was rewarded by a decoration from the
| Ravarian government. she then tells
with considerable enthusiasm and con-
siderable amiable exaggeration Of It's ar
tistic value the story Of the festival per-
Torrance OF excerpts from "Parsifal' UNI
der the auspices Of the Seidl Society, In
Brooklyn, on March 81, 1890.
There is a pendant to Nine. Lehmann's
story which must wait on the citation Of
the other contribution TO the foreign con-
troversy. One OF the earliest public re-
sponses to Bahr's appeal was an article,
also In the "Neue FTeie Presse," by Felix
Won Weingartner. While he processes to
be against all special legislation as a citi-
zen, Mr.. Weingartner az an artist advo-
Gates a new law OF copyright which shall
make an exception in favor Of "Parsifal."
Nevertheless, he points out very Apostle
~ that Wagner had in his hands the
means to put his wish that "Parsifal" be
reserved exclusively for Bayreuth into
effect, but did not embrace It. He needed
only to refrain from publishing the score,
and the drama would have forever been
the private property OF Wahnfried. He
had, besides. paved the way for made
quate performances of other dramas, no.
tably THE Ring Of the Nibelung," by
selling the right of performance TO thea
tres generally. and was therefore himself
responsible for their dissertation. More
over to emphasize the point that WaB-
ners expressed wishes are OF no weight
in the case, he says that the composer not
only had contemplated giving performing
rights OF "Parsifal" TO some theatres, but
in the case of the Royal Opera at Munich
had actually done so. In spite Of this, he
favors q retention OF the Bayreuth mo-
nopoly, on tho ground that only In the
festival theatre is It possible 10 secure the
proper mood for the enjoyment and APP
probation Of the work. He says:
II is the house Itself which at the out
set creates the mood which we can at
tain in no other theatre. AS In Cath-
ole church, the silent incense smoke,
trembling through the semi-darkened
room, arouscs in us the feelings which
are essential to a devotional attendance
on the divine service, so the sight OF
the Bayreuth house, its situation, the
memories Of It's creator, the Conscious
ness of all the great things which were
projected here and carried out though
only in part, I'll us with a sort or deVo-
tional sympathy, which Is intensified by
the religious element and the conviction
that the spaces OF this house open TO
us something which Is shut out from all
the rest Of the world. l say all the
rest Of the world, despite the fact That
hand ventured TO throw stone INTO the
fountain Of Magnetism and performed
"Parsifal" on the other side OF the ocean.
But the waves created by this act were
not strong enough To wash away the
nimbus which attaches 10 Bayreuth by
reason OF its exclusive possession OF
"Parsifal." The New York "PaTsitaf
had no effect either externally or inter
nally. II was an event, a sensation, ike
many others but not a vital experience.
True II brought TO our consciousness the
fact that "Parsifal" Is Wagncr,s ripest
but not strongest work. Signs OF senillty
were noticeable in the first act The be,
ginning OF the second act fascinated
everybody It is true by reason or the
wonderful setting OF the flower maidcns
scene, which left Bayreuth far behind:
but the second half was not convincing.
On the stage OF the Metropolitan Opera
House the pure fool who is so willingly
accepted in Bayreuth could not compe!
belief In the third act, by far the most
beautiful In the work, in when we might
almost believe luminous strands from
Beethovens last quartets are woven into
the music, there was a disturbing want
OF that intimacy which Is so essential 10
this act, and which cannot be attained
In large opera houses built for spec
tacrllar operas and ballets. At the end II
became tiresome. But even II the New
York performance had been better than
IL was 1t could not have been the Bay
reuth "Parsifal.'
There IL something 20 be said now In
application OF the accounts OF Nine
Lehman and Mr.. Weingartner; at the
risk Of appearing immodest the writer
must become personal in the recital
There was a time before Nine. Lehman
had her talk with Mr.. Stanton when a
production of "Parsifal" at the Metro
polltan Opera House seemed imminent.
The writer was present at the first per-
Torrance of "Parsifal' at Bayreuth In
1886 There was a foregathering OF New
York friends before the trumpcts called
the faithful within the sanctuary. Mr..
Seidl was in an unhappy mood, and he
told his companions why. He had just
heard that Nine. Wagner had granted
permission TO the Court opera at Munich
TO give "Parsifal" 81 am going to make
further inquiries" he said to the writer,
land IL find that the report Is true l
shall perform Parsifal in New York
next winter in spite Of the prohibition"
Seidl was faithful adherent Of Wahn-