Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1915-12-15
FIRST PERFORMANCE
OF ROSENKAVALIER
Strauss "Comic Grand Opera" Excel
lently Produced and Sung

The years have apparently dissipated
the resentment which DR. Richard Strauss
has had against Philadelphia, and as a
result the Metropolitan last night was the
scene of the local premiere of Der Rosen-
kavalier," the great composers comic
drama with music. It was notable occa-
sion.
In many ways also, II was disconcert-
ing occasion, for what could one make Of
an opera so subversive Of traditions that
the great voice of Frieda Hempel counted
almost for nothing In the total impress
sion? What could one make of an opera
in which not only sacred Wagner was ira
duced and rldiculed but even the work
itself was burlesqued from act to act?
Above all, what was one to say to an
opera in which. by all that is rare. one
really laughed out in Olympic merrlment
and enjoyed virtually every moment?
Clearly this German who could compose
Also Sprach Zarathustra" and Till
Eulenspiegel" knows no limitations, be-
cause In the field Of opera he has produced
Electra" as we'll as "Rosenkavalier."
II is perhaps fortunate for us that
'Rosenl<aValier" was first heard under the
quiet baton Of Artur Bodanzky. 1t is
likely enough that Alfred Hertz was much
nearer the composers intentions when he
let his orchestra leap and shout In the
riotous imaEinings of Strauss. Mr.. Bo-
danzky Is gaining his good repute by the
delicate balance he establishes between
singers and instruments. and last night
he showed that he had clear and definite
purpose In his leading. When necessity
demanded he could drown out the puny
voices of the singers In great bursts Of
orchestral sound. For the most part he
was moderate, and no singer could COM
plain. None, fortunately, needed coddling
from the conductor.
M,r, ,.atz. -
beyond extraordinary ranges and pow
ers, the gift of adaptabIlity. In the
sweeping declamations of Strauss her
greatest capacities are not shown. but in
each of her appearances she had great
moments In the final act she sang with
Mines. Obcr and Mason in trio which
was remarkable enough because. sung in
women's voices. 1t yet had infinite grada
tlons and differences of tone. The finale
of the first act was, however. Nine. Hem
pel's own; her meditation and the accom-
pautment which ends by rising into clear
and sober beauty were the finest feature
of the evening. Since Miss Mason is an
nounced for part In "Un Bnllo in
Maschera" next week. 1t was good to
find that she has n pleasing and capable
voice which can blend with much beauty
with other voices.
Nine. Ober and Mr.. Goritz. as Octa-
vian and Baron Ochs. respectively. were
lne SlllElnt anu uCllnB StaTS.
Each presented a real characterization,
and each sacrificed no part of dual duty
presented by the score. In an opera
which depends much on humor character
Is Indispensable, and the character must
be expressed in voice as well as in |
feature and figure. Nine. Ober's Octa-
vlan, with its double masking. was al
ways provocative and interesting. Mr.. |
Goritz as the leering, tippling, lecherous. |
absurd and pathetic baron was superb.
It is astonishing that "Rosenkavalier,"
written in essentially modern idiom of |
music. should preserve so much of It's |
atmosphere of ancient times. Costume |
and set were always correct, with re-
curing suggestions of rocco, with color |
and vulgarity and ridiculous magni1- |
CenCe. But the true cause of Strauss |
success is that his imagination, which is |
ribald as surely as 1t is riotous. which |
is abundantly audaclous and vulgar. cor
responds. actually, to the Imagination of |
the time which he is depicting.
1t is hard TO forgive the few dull pass
ages, such as those in the beginning of |
the first act, when one feels so sure that |
they are unnecessary. Perhaps If at |
those times one could have heard more |
of the orchestra there would have been
some consolation. The ingenuity of or
chestratiOn throughout Is a marvel; the
ability to settle mood upon his hearers
Is Strauss irresistible gift. He ends his
first act with u mood of deep sentiment,
and promptly parallels that with bur
lesque mood of Righteousness in the
second act and an utterly trivial but de-
lightful finale at the end. Is anyone an
noyed? The answer is simply that in
each mood his hold is absolute. He turns
the Walkuere call into mock heroics when
his Baron Is wounded, and no ear is
offended. He introduces a waltz which
suggests Johann. not Richard, as his first
name, and It allures and distresses like
a vanished memory. but II compels ad-
So with every bar of his score.
Richard Strauss is a Titan. and here
he worked almost in cameo. He is richly
yet his inspiration here was OBJ
viously French. and he and Won Hof-
mannsthal succeeded her in capturing a
phase without violence-a thing which is
at least open to question in other works
they have produced together. 1t Is
hardly likely that Strauss chief claim
to Immortality will rest on his operas,
nor his chief opera ever be called "Rosen-
Savalier." But for him IL Is important
because il indicates the universally of
his imagination. For US 1t Is important
-Gofue os pun 5uIusAHue os 81 u esnBooq
able work. q, V, 5.
CONCERT TICKETS SOLD OUT"