New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-02-16
OPERAS SHOW
SHARP CONTRASTS
Carmen" and "Fidelio,"
Their Singers and Hear
ers, Widely Apart.

Operas and audiences were in marked
contrast at the two performances which
were given In the Metropolitan Opera
House yesterday. In the afternoon
there was a representation, outside the
subscription, Of Carmen" and the
theatre was overflled the term
in its meaning as regards the common
law of physical comfort as well, pos
sibly. as in its relation to the munich
pal ordinances. In the evening the
opera was "Fidelio." and. though the
audience was fine one, there was
more room in the house and a purer
atmosphere every respect. " was
a subscription performance. Miss Far
rar and Signor Caruso sang in the
afternoon, and some OF the best Of the
German singers in the evening.
II would seem as il we had here facts
10 warrant discourse, not to say a
preachment, and no doubt they will be
utilized by some OF the chroniclers Of
operate small beer. But there are no
conclusions TO be drawn from them that
are not as old as the history OF opera
itself. Bzet's opera is a delightful
work, full OF the good red blood which
gives life to the lyric drama. When
Nietsche fell out with Wagner, for
various reasons, one OF them being that
1t hurt his sense OF the dignity belong
ing to genius to see his hero standing
on his head, he used Carmen" as a
club with which, as he hoped, to de-
moiish "Parsifal" But Nietsche's
glorifcation of Carmen" did not sd-
vance it in popularity nor do harm to
"Parsifal."
"Fidelio" has no more attractive
mower in New York now than it had
a generation ago; but 1t has as much
as Carmen" ever had when ASSOCIATED
from the cult Of the individual with
which II has nearly always been bound
up. This cult has at times, in the his
tory OF the lyric stage, divided families
and even disrupted political parties;
but It has never exerted lasting IN
huence upon opera "a form of fash
ionable entertainment, nor affected IN
anv way the value Of the great COM
poser's creations.
To understand the artistic equation
presented yesterday one needs only 70
imagine Farrar and Csruso singing IN
Beethoven's opera "a possibility diff
cult to conceive) and Matzenauer and
Urlus singing in Carmen" Blzet and
Beethoven, carmen" and "Fidelio"
would remain what they have always
been, though there would be q reversal
of the exhibit on the box Office sheet.
The phenomenon need give no more
concern to the real lovers of opera to-
day than did the appearance and dis
appearance Of Patti, Nilsson, Campo
mini. Jean de Reszke. Maurel and 9TH
ers to those of two and three decades
ago. Opera will survive the departure
OF Signor Caruso next week, and the
Metropolitan Opera House will not be
permitted to fall into decay, even If
| Mr.. GATH fails next fall 10 establish
business relations with Miss Farrars
agent. And. il is TO be hoped, both
"Fidelio" and Carmen" will remain in
the repertory. =,
The illness Of Mr.. Goritz compelled
a change in the list OF artists who
rave the opera its first performance
this season, fortnight ago. Nine
Matzenauer repeated her impersona-
ton of Leonore, with its powerfully
moving denotement Of psthos which
is still without parallel in operate
literature. Mr.. Urlus, too. met the de-
mands of the composer acaeptably, as
did Miss Schumsnn, Mr.. Braun and
Mr.. Reiss. Mr.. Goritz's place in the
cast was taken by Mr.. We'll, who at
short notice and in order to make the
performance possible, learned the part
in day. Mr.. We'll was the customary
! splenitive Don Pizzarro, and escaped
being choked by his own rage in his
first air as narrowly as any OF his
predecessors for decades. But we have
all learned to look leniently upon every
barytone who is obliged to attempt to
give expression to Beethoven's music
in this tremendous number. H. f. X.