New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-04
French Composer Leaves
but Little of CervanteS'S
Book in Opera.
ROSINANTE AND
DAPPLE ON STAGE
Mary Garden, MarcOux and
Hector Dufranne Win Applause
at the Metropolitan.

number of his works which have been
performed in New York In the last gem
Grafton Massenet would have TO be set
down as the first OF all opera writers
Within that period a round dozen OF his
works have been seen and heard, the
twelfth having beer produced last night
AT the Metropolitan Opeia House by the
Chicago company. Verdi might contest
the honor with the French composer II
one were to count some OF his operas
which had a performance or two In the
long ago and under circumstances which
left no sign. except a record in the DOCKS
OF statistical historians-such az 81 I-om-
bardi." 81 due Foscari" "Iuisa Miller
and ia Fora del Destino.' II is only
by courtesy that "Otello" and "Falstan
can be reckoned In the active list-by
courtesy to the great works and 10 save
our opera from humiliation.
Wagners case is unique. for Of the ten
operas which have won places In the rep
ertory nine have held them year In and
year out despite changing administra-
tons and the coming and going Of sing
Massenet has been more favored than
any French composer. but there has been
something Fictitious about the produc-
ton Of nearly every one OF his works.
There has been no real opportunity to
learn how much vitality they possess.
"Manon" has endured longest, chiefly,
perhaps, because IL has been fortunate
in its performers; for unsteady IL can
not be said to be so superior TO its COM
psnlons that they should all have flick
cred out in a season or so and left Il to
burn on alone. "Werther" surely had
right TO a larger number OF perform
ances than It has received, IL not to
permanent place in the current list.
The other operas all owed their New
York productions 10 adventurous condi-
tons which could not make for their
longevity: lie cid" 10 the interest taken
In il by the brothers De Reszke; LA
Navarraise" to Nine. Calve. for whom it
was written by librettist as well as COM
poser: lie Jongleur de Notre Dame
"Thafs," "Sapho' and "Griselidis" be-
cause they were in Miss Mary Gardens
repertory. and "Herodiade" and Cen
drilon" because Mr.. Hammerstein's or
ganization specialized" in French opera
and Massenet offered it the most practi-
cable list.
The Chicago company continues TO per-
petuate the traditions Of the Manhattan
Opera House, and probably will con-
tinue to do so as long as Miss Garden is
an active factor in II.
That being so. there was nothing sur
prising I'm the fact that three Of MISS
Gardens novelties should have been cho-
sen for production at the representations
to be given on four Tuesday evenings at
the Metropolitan Opera House. The first
of these that OF last night, was one or
the prolific writer's later, though not his
last, work. Don Quichotte" Its book was
made by Henri Cain after a French play
by NJ lie Lorraine. To the playwright Is
due the structure Of the piece, the posture
and sequence OF its incidents. French
Iibrettists have no bowels OF compassion
for classic authors or reverence for their
masterpieces.
Shakespeare and Goethe were despoiled
for Thomas and Gounod and Cervantes
has now paid tribute to Massenet OF
the immortal romance nothing has gone
over into the opera except the names or
three characters, Don Quixotes horse
and Sancho Panza's ass. Even horse and
ass excited the commlseraton of the judi
cious last night. Cervantess story has
haunted the minds OF opera writer's for
two centuries; there ought TO be some
thing in II for a lyrical dramatst. for it
contains a whole world of suggestive
beauty for the lover of imaginative lit
erature, of comedy OF the highest type and
of the chivalry whose mockery it was
written to chastise in the true spirit OF
comedy.
The French creators OF the opera found
nothing of all this. They used none OF
the familiar incidents. except the lament
able adventure with the windniils, which
offered an opportunity for an amusing
stage Illusion. Don Quixote is seen charg-
ing twice across the stage, lance couched,
gigantic windmill waving its arms in
the middle ground. Anon a dummy is
seen flying through the air, and just be-
fore the curtain closes Sancho Panza leads
Dapple across the scene. burdened with
the wrecked knight and followed by Rosi-
nante, with his eve In sling. That must
recompense the lover OF Cervantes for the
omission OF such episodes as the attack
upon the flock of sheep, the battle with
the wine skins, the adventure OF Man,
brino's helmet. Sanchos government on
the island of Baratario and all the rest
OF the incidents which have diverted the
world ever since Cervantes wrote. Worse
Ne mi 10 a farciCal
figure until his death, and even then the
pathos which he ought TO challenge is
lacking. because while the composer does
his best TO atone for the inverteorate
music with which he had filled the pre-
cedng acts the draYnatists knew not how
10 utilize the simple device with wnich
the novelist grips the heartstrings OF his
readers. As for Sancho Panza. he Is trans
formed into a conventional buroon. and
Dulcinea into a conventional operate
strumpet.
II would try ones patience 10 tell the
story of the opera If II we're not so FOOL
ish and alternate. II is quickly sum-
married.: Act I. People. dressed in span
ish costumes. sing and dance 10 Spanish
rhythms under DulcIneas window. Mary
Garden appears on the balcony throws
flowers 90 her admirers. and utters sounds
which ought never TO be heard in an in
stitution professedly devoted 10 art. Don
Quixote serenades her. fights duel. and
is sent by the lady in quest OF necklace
stolen by bandits. Act III. Don Quixote
sings fa-la-las. tries TO find rhymes Tor
love poem. charges windmill. and
dummy is hurled into the wings. ACT