The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-11-21

','s' 'aN
~ thousand miles away from the men,
tai horizon Of the elegant and charm.
ing composer Of "Scheherazade." This
singular opera, with u bass for "a hero.
with a plot in which no woman has
the slightest significance and In when
the roles Of the most vital import arr
played by Il man and the chorus. has
evidently come to stay. IL Americans
sometimes wonder why II il so stirring.
perhaps part of the answer may be
found in its participation in 'tlie his
tory of the attainment Of self-con-
scious freedom by the human spirit
The first week Of the opera season
has successfully brought itself to "A
conclusion and has left few topics
which seem to call for further dis.
cussion. In fact the Metropolitan
Opera House is the most barren place
to which the professional chronicler Of
musical doings is called upon to 10
in the discharge OF his multifarious
duties. II rarely offers anything of
grave importance except when ii
generously produces q new opera.
Such a production. let it be ~reiter-
ated. Is a most liberal act on the part
of the gentlemen who form the Metro
politan Opera Company. and who sup
port the ideas OF their impresarlo.
Giulio Gatti-Casazza- Very few people
have any desire for new operas. II
say that there is not a public demand
for them is to put the matter mildly.
But publics are like children i'm that
they are not the best judges of what
they ought to wish for. IL no new
operas were brought forward opera
goers would soon weary of the old
ones. There was a time when there
was no such work as Aida" There
was a time when no one had dreamed
of LA Boheme." "Tosca" or MADAME
Butterfly There was a time when
formation Of that immortal trio, Ca
russo, "Pagliacci" and the bass drum.
Therefore it was an act both ven.
turesome and necessary to resurrect
Saint-Saens's Samson ct Dalila.' To
he sure II was not literally a novelty.
bus Il is safe to assume that in effect
1t VA n to nine-tenths OF the
habitues Of the Metropolitan. Further
,,o.o 4, .o, 49,. 49,
% ,t,a -. nj. ~
-. -. =
- -
,s.a''" 'm ''
""'','",e " 'H' pupr,'' 'prras"e'S
'"'"s '""''" u""' '"s "" never
WIS., w "e"' '"''' ""oi'" 'e'"' any
roles ave those in which 10y have
''''"'e "''"s'"'','" I" "u"ic nm 'u'
W inc 'ou'Sco 'i"'e '"'! "ou'u weary
ot these'
now nhuinE new parts LOT MI
Iaruso Is a formidable task lie "
the most popular singer OF II Time
ana ne ought TO be acceptable 10 the
pubic IN anything when - precisely
not the case. Inc puoiic ala not IKE
MN 10 sns fend"d IN u
oIu not iihe MN 10 sing '""e". IL IN
s'ah'iy "isheu MN 70 return 10 h'e
Ass urum'
ine roe VI Su"So" Is wen mig"
ioPele~s ior the famous tenor. III 'fe
nrs' pace nus sines'g OF french is
never a''ehueu WIN happy results IN
.he Secoha ms i'a,'a" s.Sle uoes no'
'e"uiis a'"p' nse.i W. ,en'" nruS1.
"i,u '"e i"Ae eosi. eN.,o"al w r,e.e'
iiuS'e '"e "oiHe iol 'ne 'e''oi' saint,
"aellS' "ho rs one VI ~ HOS 'aIen'eu
co"'poee'S surviving =" me "otiu vi
MUSIC iron" 'he h"a' years :" 'ne
"'"e.e's't" ceh'u'!' "aS .leaI1s
n'ai"'u "'''' 'u'a,''s' ''' ~ '
.'o'" "'e "",''"' "". ms ~" ,"a"t''s
u eurrouhueu U! 'ne ha'tona' ooum-
'a''es "' "!ne'ee"a' eeh'ui! "d'
opera "h>cn.ip"S Homs'" M"s "o.
Il roe III WHICH MT ''r">" h'isn' We
confidently expected 10 AROUSE see'h'h
enthusiasm
nu' II ~ sot an eN"a's.H's "'e' mnu
~, Ts.s ira,,n., ~. 80,
,,' h,s .auar,".. d,o. rn, s,on,n =, ~
m achieysmon, in art ar nhvsica,
endnrance Tamnpno was a sinrl,
snaaat Iar,;son ia u,s ro,.ar raau,
49, 49, rn,. .a,o otcUo ara q, T.
a,aaa,h.r ,rnhah,a ,b.t Verdi han
,,aroa ,ha ,nnar.nnat;nn into him h,,
hv lar snnson uas uu,,e ma updis.