New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-29

emotional climax, the chorus singing
or stopping singing according as
TO whether the actOn ~ 10 pro
ceed or change its course. Fur
Their than this the music does little 10
help along the story. Il Is, ia snor,,
neither drama nor character, nor ideas
IN which Senor Granados is interested
it is in the expression OF certain
spirit the spirit which he round
an the paintings OF Goya. Whether
this spirit he has not more clearly eX-
pressed ~ his piano sketches, without
the AID OF costumes, scenery and ac-
ton. may well be- q moO.cd question.
The most interesting parts, musical
ly. are the chO.uses and the dances IN
The second taoleau. Here the composer
is al home; here, forgetting opera and
ali its trappings. he writes for the
crowd and Tor the dance; writes IN the
ldiom of the crowd, freely, spon-
taneously. When. rs iH the .ast act,
he wakes lyrical he seems unable to
express himself sincerely, and what
should be the emotional summit OF the
work descends into an anti-clmax
No doubt the fault is here partly the
librcttist's, for what Wagner accom-
plshes in Tristan" perhaps only Wag-
lust before ROsario's farewell there -
much pretty music. music which at
times hovers close on the borders OF
drama. But this brief inspiration does
not last. The end, despite the cutting
since the dress rehearsal. still remains
tie weakest portion of the opera.
Ii would. OF course, be easy 10 point
out wherein the librettist, given the
proper chance. could have written
something far different. Inc times Of
Goya and the Duchess d'Alba positive
ly clamor for individual dramatic
treatment. The mingllng OF classes,
the thrust and parry between the goa
Amor and outraged husbands or lynx
eyed duennas, the hot color OF lie, Its
quick changes and sudden surprises,
md a hundred examples in the life OF
the painter himself. Had the librettist
written story OF character or IN
,rigue. had he brought to life half
dozen individuals of that romantic
epoch, the composer might well have
found material 10 clothe and WHY
with the magic Of his music. But this
would have been music-drama. and not a
mere series OF pictures painted Tor the
effect of the ensemble. Senior Granados
and presumably Senior Periquet were,
however, set upon a different errand.
They were interested in painting, not
the lie of Goya or the character OF
his noble mistress, but the informing
shirt of the time. For this the libret-
fists story was n mere afterthought. a
series of pegs wherewith to hang the
music on the stage. What really
counted were the rhythms and the or
chestral color. Now, rhythm and or
a.
hut alone they will not carry on Il
story. and. whatever our dramatic re-
formers may think. the stage was, D.
and ever will be the place TO tell a
story. TO tell il through emotion ana
nv action. A mere static picture OF a
man or of an epoch will never hnd
either the dramatic or the lyric stage
tho rostrum for its perfect presenta-
tion. -.
honors went TO the chorus. and TO us
able director, Giuio Scttl. &c MISS
Rosina CALI and to Signor Boniig 10 Tor
their dancing, and 10 the orchestra
under Signor Bavagnoli. All tho artists
ard their helpers deserve high praise,
praise which must also extend 10 sig
nor Gatti-Casazza for his choice oil
scenery. The two last sets were eN-
ceedngly atmospheric, yet at the same
time strikingly real.
No more beautiful figure ever stepped
upon the Metropolitan stage than ap-
peared when Miss Anna Ftziu made
her entrance "a Rosario. The falrest
dreams Of Goya were realized at least
in face. Miss Fitziu also has voice. a
powerful organ Of good timbre. at times
r little hard perhaps. but IN the man
ha l.a "a
a good deal in polish and IN the nner
arts OF song. and she lacked last night
M least anv suggestion of warmth OF
feeling. In fact during her farewell 10
her diving lover her demeanor became
positively Joyous. Giovanni MartneHi
j. An excellent artist and has a me
voice. but his idea of a Spanish aristo-
crat seemed TO be one of a rather bury
gcndarme. lar
Giuseppe de Lucas singing Is ever
n delight. and II he did not look the
toreador Of all Madrid or act II. per
hans that is not altogether his iault.
The audience, despite the effort OF a
most disagreeable claque, gave every
evidence OF pleasure. and called the
artists. the composer. the hbrettist,
MIR. Sitti. Mr.. Speck. and Mr.. Bavagnoh
before the curtain countless times
Signor Gatti-Casazza deserves congrat-
ula.ion upon his production Of the new
work. II is only By the production OF
novelties that operate art can con
tinue. Spain. like Russia. ought TO De
a fertile field. and in "Goyescas' we
have found much music OF haunting ma
tional charm. This was the cast;
- Anna fitztu
Her t.t appearance in his theatre NJ,
100, .... Giovanni Nar'ineii
Ir,nt,',, ... t.luseprr De Iues
,Atrmipt. s,,ve, ...... MAJ Bloch