Atlanta Georgian. [volume] (Atlanta, Ga.) 1912-1939, 1914-04-11
New York Is Undecided Whether
Composition Is a "Hit" or "Op-
cratic Assault and Battery"

Lovers Of grand opera in Atlanta
especially those who are not partic-
ulaaly keen for the daring in dialogue
or the risque in stage business s.
are doing a great deal Of running
around these days, trying to procure
the book and score of Der Rosen-
kavalier." Richard Strauss latest
work, which is to be the opening
opera Of the Atlanta engagement of
the Metropolitan Grand Opera Com
pany, in order that they might learn
just when and how and why and if
they are TO be shocked.
If the dictum of the New York
critics count for anything and you
have the word of the New York crit
les for it that it does-then Atlanta is
going to be most awfully shocked at
certain parts of the opera, particu
larly that part where the Cavalier
captivates the young woman he has
been sent to WOO for another,
Many Guess at Effect.
The opera appears to have affected
tie NEW i VI III oOllAN " nat LiiC
same manner that BoccaCCio would
affect one who was given 10 constant
perusal Of an almanac. Hence, it was
produced again at the Metropolitan
in New York
A whole lot OF guessing is being
done concerning the probable effect
of the opera on Atlanta folk 1t has
become a mooted question in musical
circles Just how Atlanta will take it.
About the only thing that is known
for certain is that more people in At
lanla will know German by the time
the opera is produced than know it
now
The sale of books that offer
knowledge Of German in ten lessons
has increased amazingly since the
agitation over the opera began. which
shows that whichever way the wind
of criticism blows folk here aren't go
ing to take any chances Of missing
anything
The opera seems to have stood mu-
steal New York-which means the
musical critics in New York-on its
ears
Called Operate Assault"
As Willard Holcomb puts it In New
York Topics, The professional crit
les are at loggerheads whether the
opera is a hit or an operate assault
and battery They do not know.
whether Der Rosenkavalier' should
be sentenced to 30 DAYS or 30 nights,
and are about equally divided as to
whether Strauss deserves TO be
apotheosized or mathematical
Most of them have not made up
their minds whether he is musical
anarchist. who cOnceals detOnators in
his DEMONSTRATIONS OF an operate
poisoner who seeks to deaden our ma
tional conscience with his din. and
then steal away our celebrated moral
sense by means Of narcotic melodies
administered auricularly"
The same critic says the comedy on
which the opera is based was resur-
rected from some suspicious French
source, and that Strauss has en-
balmed the remains in riotous or
chestration, embroidered with wicked
waltz times.
Big Words Describe Opera.
For a time" he writes, 1T seemed
doubtful whether Sig. Gatt- Casazza
would be indicted for importing the
most malignant germs of the Teuton-
ic plague or lynched on the spot by
Infatuated Aca 1emicians'
Henry kFenDlei, OF ne iIluhe.
writes that the opera "is comedy Of
lubricity" and further states that IT
Is absolutely shocking Lubricity,'
OF course. means much the same
thing as shocking but the more. Mr..
Krehbiel writes ABOUT he opera the
palmer he becomes
Pitts Sanborn, of The Globe. set
tied the whole thing when he said the
opera was no more salacious than
Mozarts works-and he boldly de-
mands Salome as an encore. Mr..
Sanborn admits, however, that Der
Rosenkavalier" contains a great deal
Of "thoosymoosyism, which may or
may not be condemnation. One would
think, however, from the general
contour and appearance OF the word
that little thoosym oosyism would
be a dangerous thing.
Algernon st. John BrenOn, one Of
the best known New York critics,
does not venture to express an opin-
ion as to the thoosymoosyistic quail
ties % Der Rosenkavalier." but he
writes this, plainly and succinctly:
"Of salience and importance almost
equal and hush with this bounteous
measure OF accomplishment were the
acting and singing Of Freda Hempel
Margaret Ober and Otto Goritz