The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-03-22

general taste? II cannot be denied that
even ON ihis side ~ the Atlantic people
do not care as much for opera bura as
they do for IN. big turnultuous tragedies
and the spectacular operas punctuated
with pauses for lyr.c floods u passion.
as In Aida"
Some are IN the habit VI declaring
that the lnsurmountabie obstacle In the
way Oi success tor opera buna 10 the
great szo of the Metropolitan Opera
House. But this can hardly be the real
ditrulty "" receive with delight
operas u dainty texture, like "Manon.'
which are serious and even tragic In
character. Furthermore when opera
bura ~as performed In the smaller
auditoriums Of the Manhattan Opera
House and the them New Theatre the
results "erG not much NOR. encourlg-
ing. ~ Maestro di cspciIa" was well
given a. the uptown opera house, but It
rank Hpoedlly into oblivion. Even
I;ossiE!s "Barbsr VI sevil,. doe no,
claim the same amount OF attention IL
dad Queen years ago. and this 10 not
because II cannot b. crcditsbiy per
formed.
Here IL a Geld Tor speculation. There
sb's Wv 'nt '0hSvs tNsit may HaI Il
dozen. The present writer IN inclined
- believe that "A powerful factor IN that
love for the SPECTACULAR which has
operated Ia the domain Of the lyric
drama from It's earliest time- This
does not mean love for scenic
spcctacl. only. hut for all the clements
dramatic and musical which tend TO
dazzle. Thes. sisnsnts perforce play
a..l.. -.
which must have recourse 10 delicate,
dainty and fanciful means ~ expression
rather than 10 those impressiv. or i'm
posing To enjoy that which N delicate
IA construction requires de!lcacy Of ap-
/ probation ana thls presupposes knoni-
edge. Unfortunately the typical opera
so-r II not even a respectAb.e dilettsnte.
How In he Ia retei In the rsmar bl.
hum"r and superb musiciahshIp 81 the
brilliant fugue with whbrh Verdi con.
cludes his "Falstsn"? The rhythm and
melody Of Sc vuo baIiare" In "Ls
| Sozze VI Figaro" reaches the ear VI m,
music lover, but how many discern Ia.
captivating fancy ~ the number?
II II probable that mort opersgoers
Will fail 10 discern the opuicn, musical
skill displayed In the score Of Wolf-Fer-
raw y IL AWpFt hrnlCU,' when ~ To he
brought forward on Wednesday evening
Unless the listener 10 willing to catch
on. ar two fundamental th.mstic idea,
and anerward observe them performing
the functions Of VarenthOod 10 slmosl
the entire score VI the work he will mis-,
the whole Of the composers extraor,
binary craftsmanship.
This score II constructed on q piai
which belongs exclusively to Tia. present
II In n plan developed from the lesdin,
motive method Of Wagner, but II IN new
The representative theme plan demand
IA large number Of meiodic FRA gin.nts (,
publish the Ideas In the drama. Thes
themes are varied In rhythm. mode o.
Instrumentation according to the cir
cumstances IN which they have TO ap
pear. Frequently two or three Of then
are combined In some what compll
Gated explanation Of the dramatic situa
ton.
This II not the system employed b.
Wof-Ferrari. Let the visitor to tn
Metropolitan Opera House on Wednes
day evening give special attention To tn
theme with which the overture to IN
/, opera begins. IL ne IL not present ~
early, let him note It as the opening %
the lullaby which Arnolto sings to LIZ
ciudd In Act I. Here II rs.