New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-11-26
audience at Metropolitan
Hears the Lyric Drama
for First Time
rrS SECOND ACT
& CLASSIC IDEAL
cooos and MimiCry OF
Ancient Rites Hold
Hearers Spellbound
Rs II. Z. KREHBIEL

H.
r-,- the point Of view which modern
-.,sr practice, as eontra-distin-
't,5 from old-fsshioned journalism,
l,-,e8 upon the reviewer Of the
..,,sses IN our theatres, concert
-, .,d opsra houses, there ought TO
.i,,,v Of time between the fall Of
80, I'm on afternoon represen-
- and The time OF going 70 press to
-, s.yersl columns shout a new play
s..to-v or opcra. There not only
NHlY"to he enough time, but there Is
e1s. ia hand 81 the business knows.
-. .t,re IS not time 20 write an afi.cie
io ,c-ou-h and at the same SINE
49,. enough 90 reproduce nc l"-
Ps,..- made upon a knowcr and iNNeT
~. beautiful by a performance ae
0,.t.-- was given az the Mc'ropoii-
O,era House yesterday afternoon
=. Clrrt'. "Iphicenia ln Taurus
...,;rs6 us first performance IN New
~ The French classic was sung ia
d..s.., and largely acted 900 Herman,
ot,-,b, hangs much material Tor dls-
-, o.bich might be considered were
~. ~, rot much metal more attractive
'',Iis we prefer 20 direct our atten-
ton now. --.,,Y l.A.f Tur,,s g"
49,. cerraus say. concelving the coun-
-e - tbo Tsurisns 20 have been an ISL
"a IL so replete with dramatic ma
,srisl with thought experience ana
sro,ion. that though slow ana barren
H. external action 20 serve the Ieal
,r-nose Of criticism, q writer ought 70
~ tine 20 pack every phrase WIN
.',.,;nr and saturste IL with feeling,
:. 40 COMPOSER did his score, so that
:. rigbt saw briefly and swiftly things
.tisb expressed multitudinously ana
s.iiberstely would fail Of their purpose.
Audience Held Spellbound
The lyric drama Of to-day. IS it re
act. The careless taste ana desires O.
.te times. IS UNNECESSARILY distant
.-o,, tbe tragedy with music as Gluck
,,rceired h. and as we have come IN
.,,.b With IL. more or less intimately
In "Orfeo." "Armide' and Ipmgen. :
In Tauride." Yet, note a fact OF Dig
and lovely purpose: For hail an hour
Yesterday afternoon a matinee audi
srce. the kind Of gathering which mas
been butt for the cynical humorist
for generation, sat spellbound, not
hke A gathering Of pleased pleasure
seekers. but like a congregation OF Wor-
sbirpers. listening TO songs ana WIZ
Messing a mimicry OF ancient rites
connected with the conservation OF a
human sacrifce-a ceremony as lar re-
moved from the religious feelings OF
to-day as heaven from earth; listen
inc 10 music which q village choir to-
dsv would deem too simple for consld-
Grafton. and looking upon the panto-
mimic posturing Of q dancer as II upon
such song and movements hung ever
lasting things. And so they do; Tor
In what Iuhigenia chanted, the orches-
TIA sang and Rosina Cali expressed in
exquisite pose and eloquent movement
in the second act Of the opera. there
lies the essence OF all that inspired the
drama a. its birth and viii live in i
tin rs death.
We must assume at least reason
able familiarity with the ancient story
Of lphlgenia, as told i'm the tragedy Of
Euripides, IL we are 20 discuss yes
tsrday's opera without a large waste
Of words For those who do not know
u, or have no sympathy with its SEN
tments and teachings, there can be no
interest in Gluck's wonderful art-work
nothing in its text (which IS a per-
version Of the original, albeit a re-
ipectful one); nothing IN Its music,
which SIS foreign 20 the taste of to-day;
nothing iu its action, which Us simple
in the extreme. and little IN its scenic
outfit .the beauty and appositeness OF
which are ably discussed in another
place IN to-day issue of The Tribune).
n We have singled out the moment
which seemed of supremest beauty TO
base this brief disquisition upon, It is
because IN that moment there seemed
10 be for US the most perfect realiza-
ton Of the classic ideal IN every re-
.pect.
Beauty Of Hellenic Art
In Iphigenia kneeling at the altar in
.Lo temple Of Diana invoking a bless
ing upon a deed against which her
gentle heart rebellcd. pouring out ll-
bation for q brother whom she was un-
knowingly consecrating 90 a sacrihcial
death. while the vcstal maidens chanted
q requiem and a priestess vltalized
speech and tone with gestures OF eX-
quisite grace and loveliness, there was
a dramatic eonsummation which put to
shame al the efforts recently made TO
humanize the old tragedy by, an attempt
70 mimic 10 In the commonplace OF to-
day and an The choreographie plati-
tudes and conventions of the Ballet
Russo. ln these things we were made
conscious Of the beauty and eloquence
Of Hellenic art Much Of the dialogue
Ieutonized 90 the extinction Of its