New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-02-28
OamrosCh-HenderSon Opera
Founded on RoStand'S Play
Wins Enthusiastic Welcome.
COMPOSER MAKES SPEECH
Piece Will Stay in Regular Rep
ertory, Says Kahn, Who Be
lieves 1t Paves Way for
Other English Works.


ri,ond Rostand. was produced for the
erst time on any stage last night at the
vstropoli,an opera House. The occasion
nasa notable one. and the audience. both
= size and briiliance. was equal to the
occasion.
interest had steadily grown in the pres
.,,ation II tho work. and the standees
,ivaued I'm numbers those Of CarusO
night. By the time the opera began the
auditorium was absolutely fun. and
throughout the performance the presen-
,atiop was followed with close and sym
pa,hetic interest The applause after the
curtain on the first act was warm and
spontaneous. the artists receiving nine
curtain calls
The applause after the second act was
even greater. twelve calls being registered.
hsh Mr.. Hertz and Mr. Damrosch at
length appearing and bowling their ac-
tnovledgments. There IVES much APP
nl.use also after the balcony scene. and
both Nr Henderson and Mr.. Gatti-CasaZ-
"a were brought out TO bow NJ. Dam
rosch al this point spoke a few words.
ssid The last act is the most essential.
II You show me YOU like that as well as
YOU have liked the others shall be happy
70 say few words 10 YOU.
Otto Kahn. chairman Of the board OF
directors Of the Opera Company. said he
believed that "Cyrano" would stay in the
regular repertOTy.
81 like 'Cvrano immensely" said NJ.
Kahn. 1T will encourage the productions
If American composers. as II has proved
that opera in English is possible. 'Cyrano'
is a success is well fitted for the stage
and the Metropolitan viii produce any
opera that an American composer may
write that has anywhere near its merits.
firmly believe that Mr. Dsmroschs opera
will remain in the regular repertory.'
Mr. Henderson. when asked what ~
would like 10 say. replied:
81 am glad Of 'Cyranos production. as
I believe il will encourage other Ameri-
can composers TO write operas. and Will
also encourage foreign singers to learn
roles IN English
After the final curtain N response 1"
continued applause. NJ. DamIosch again
stepped upon the stase>and spoke a few
words Of appreciation. as follows
81 wish 10 thank. first of all ihe public
which has responded SO inely 10 my Work,
and also 10 express my gratitude AND al
niratior for the genius Of edmond Ros-
far6 vino gava me the inspiration for me
onera. TO my colleague. Mr.. William j.
henderson. who so ably and symratheu-
callv translated and adapted VI fostand
work for the lyric stage: To tnat abe
f-aJar whom the metropolitan opera mas
m its mead. Mr.. Gatti-Casazza. and to all
the splendid members - thu company
vino have participated.
II also wish to say that a. my iathe'
was the first TO introduce German opera
into this country, ] hope tnat J. az MS
son. with this wo-G may have helped 10
lay the foundation stone for new type
~ opera which wil! prove 10 'e as Pof"-
lar al the Metropolitan.
In irving Il record our appreciation OF
Mace an estimate (rOwever !; NAV 'ui"
giu on Tie new opera, on so snort an
scoi,airtance. j., may be well TO give ~
little consideration as the matter allows
io the question az the language IN which
Il was performed. The question IS indeed
P very complicated one. and aneciS $"
many clements that single performance
Z anv opera could not. even under the
most favorable % circumstances. bring
them all into the field Of discussion. II IN
wolves. for one thing. command OF the
srt CT singing pure and simple lof me a''
q, vocalizationj. but also hnowlea8a
and command of that department o. TIE
ar which the informed call dicuon, ana
which DO rs relation 10 tho lyric drama
At least, has not been made the subject
y rs rucu study as IL demands by Eng
ish-Speakirg peoples Besides TINS il
ais for skill and knowledge winch ar"
Il Kin o. that which ought 10 be- pos
essed by the mere Interpreter though oi
necessity Of q higher order in the writer
4 the wOrds. who must therefore nos
only bo practically a poet. but theofet'-
ally AZ least. also singer That 'ie
must be familiar with the technical side
Z dramatic construction IS a matter oi
ourse) From The composer 20 cXacts all
II these Things. plus the capacity 90 give
hem musical expression IN the Split Of
na people for whom ne writes and whose
language ne employs
oar operate singers have not Leen
rained ln English song in he sense that
nc students OF the French have been
.raincd ever since the establishment Of
heir national school Of music or the Ger
mans since Wagner gave them dls-
lncty national art. There was briei
'lossomins Of the English art under
Purcell but all that has survived nm
he ballad operas which rejOiced the Souls
" the English Of the eighteenth century,
fnd the morgrel works OF Baife. and Wal
ace, IS found now I'm the Operettas OF O!i-
bert and SulliVan-works which are
@or,hy OF study b. the creative as wen
A. intcrpretatiye artists Of to-day rom
bis point Of view as well as others
II rs likely that one WORD out OF hfty
sung last night went through the ears
Y the listeners and penetrated their IN
'erstandng. Had the opera been SUNS
French. Italian or German the same
iurnber OF words would have been com
,rehcuded by the audience and the same
aFae demand been made upon the zane!
ndtd by the libreito.
Shall wo attempt 20 apportion INC
Zane; THAT were TOO large TASK h'ue
ciiying and iess entertaining. Mb't'
Ada's verbal uficranccs were more IRE
MONTY and consistently dietinct tnaT
hose ~ any one ~ her fellows. ~ iac''
shen she failed 20 make herself uhd'r
Hood the fault did not seem 30 he WIN
1ef but with the music. IL would nav
p'n The same had her words been Inc
aeorest and most llrnpid ever set ON paper
~ MetatyJs-r4-Ila prince OF classical