New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-12
Shakespearian Drama
In an operate Dress
III. Weeks Novelty at the MetrOpOlitan-Ihe History
Of odd Hundred and Something About
Glees, Madrigals and Part-Songs
By II. {. kREHBIEL.

,E ARE have Shakespearian opera the metropolitan
A/ opera House this wee1-a German version OF The
w Tanning Of the Shrew, with music by Herman Goetz
ooragoers OF to-day are not familiar WIN works OF TINS chafac
" Patrons OF the Metropolitan with fairly good memories
e. single representation OF Nicolas Merry Wives OF
SSdsor in which Mines. Sembrich and Schumanneink dis
80 themselves sixteen years ago, and II doe not require
ccble stretch OF the faculty remember lie" perform
% of Verbs "Fastai which. unfortunately nave been lew
Jar between RecOlecOns OF the Italian masters "Otcilo
m f~eshe though delightful but this fine work
a. been denied OF late Rossnis Otco and Verdi Mac
both of which enjoyed considerable popularity her
- arc gone it would SEEM forever Od-umers whose mem
dSy ,rv or nit, wears know that Adeadc phipps used
lesion 10 revive scene from Bcln> "ACneccl Capu
si but 10 e roJ Romeo ~ Iniette, ives indeed and
49, NILSSON Gerster and Sembrich turn. mention
TIA Ruo have occasoned representations OF Thomas Ham
-" within the period during which the Metropolitan Opera
;,.. has eraced upper Broadway The latter work however
w never won popularity though the lovelest vision that Nine
& ever presented 10 us OF It's Sccnesc death
Onheia As rule Shakespearan operas have never won
,lsce in hearts-wlch IS not at all strange NeSo
90 masterpieces such opera writers usually accomplish
sno be endured with patience by people OF whose language
n, and art the masterpieces are part
Az little less than two hundred years Julius Cesar
rsonaed in an opera by Handel by artificial male So
no and the Romeos OF Bein and Zngarel were women
er. The Hamlet OF Ambrose Thomas wins the applause o.
u. cubic not with his monoogue on suicide but with drink
e Poesins "Otello" is OF such questionable dramatic
..ncv that il is related that its cmactc scene particularly wen
s once moved an impresonabe Italian to shout Pred'
c5 The tenor numbering the soprano! Yet All tneSc @
S"rdies are triAing compared to modern opera III Wn
trSn.ac himself the hero Thomass "Lc sonse une
mutt dete" has connection with y N'HSui'"Ie' -
0,ear1 :
- which presents the poet in the character o dl,-oute
iepae who consorts with Fata autes his pothoue ilenq
Hamlet Ophelia Crookbackcd Dick and Lear gets d[uN
sus Queen Elizabeth who follows INN INTO tavern - a'0
he r.oraton and ends act by falling into drunken Vl
The hook Of this opera monumental proof that IN os"
The teraures of the other peoples rehCn 'O' % na
,. n compassion say nothing OF reverence Noneo an
rlet' Of all OF Shakespeare plays accepts an opfrS h
s gracefully and il is because OF this TACT mat mas nee zee
% So otcner than all the other plays put together Inc
M Capulcts house the first meeting OF the lovers the woe
w - the garden and uliets chamber the catastrophe anu NY
Tho arrfuT
- rsde for music their only drawbacks 10 the opcTauc com
80 - that the music of Shakespeare ines j. lSci 30
-, 80, :. .ro~ the composers art berioz pald rDu'e -
bcr he declined to make Of the human VOICE III s
r,r.ral deircation Of the garden scene