Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-12-27
NOTABLE PRODUCTION
OF "SEGFRED" GIVEN
Mr.. Urlus's Hero OF Sword n
Brilliant Portrait of Va
ried Shades

Mr.. Gattl-Casazra has redeemed his re-
cent thrcadbarc ''Trovatore" and vRpid
Marta" with noble production OF what
como gifted critics consider the slsnet
and Hepter OF waEncrs genius, the third
music drama In tho tetraloEy OF tho Chill
dren OF tho Mist 'Slogfriod" II given so
seldom In Philadelphia that even shabby.
perfunctory performance OF this Inspired
poem would probably have half Hatlsned the
crowd OF wAgnerlteB at the Metropolitan
Pnrcnthetlcally. II can bo said that the
great number OF people In attendance might
warrant 'Goetterdaommerung" or
"Rheingold" later on In 1917. No rows OF
empty benches met tho eyca. despite tho
curious opinion OF somo at this date thar
Wagner In hla moro elevated moods, like
Shakespeare. spells ruin"
"sleggried" In all events, certainly did
not put Mr.. Gattl into bankruptcy. Few
OF the many present left before the last
descent OF the curtain. and those who did
niased final scene that had thrill and
wonder. magnificent singing and true Inter
pretatlvc fra In H. Melhnle Kurt, riYalinE
olive Fremstnd at her best, Wed fairly
with jacques Urlus rs tho hero OF the
sword and Tarnhelm, Together they
brought TO a ringing and royal close what
Ia certainly ono OF the groAteHt OF operas,
and possibly one OF the most difficult 20 givo
adequate volca to, The performances was
In the best German tradition. Messrs- ReiSa
and G0rttH repeated their WFltnbn anu hln-
lister lmporsonRtions OF Mime and Alberich.
Both were in capital condition vooally.
Basil Ruysdaol mouthed giRantically ana
epically as the monster worm, LenorA
sparkos was light and airy enough as tho
forest bird. though she seemed not no sure
as she was spirited. The orchestra played
with restrained vigor that could be In
telligently admired, under the direction OF
Paul Elsler, who replaced Mr.. BodanzlEy
on the sick list. IL tho reading OF the score
was not compact OF fury and wild emotion.
II was properly modulatod TO tho ninsers'
comfort. varied In tone and tint and under
standing at all times.
Yet Il was not just tho general excellence
Of production that made "Slegrried" seem
so splendid and 10 heroic. II was tho way
In which Mr.. Urlus played (as well an aang)
him For Mr.. Urlua has seized on tho secret
OF tho role He does not try 10 represent
the great lover OF the '1Iing" rs either
prince IN n fairy tale, unreal and charming
or as the furerunuer OF tho "oVerTnhn" tow
erlng. terrible and-unreRl. too. He takes
him as a boy. builds him up 10 manhood
and then let's him naturally accumulate the
composite virtues land Vlces) OF the fairy
prince and tho Titan. as Indicated In tho
libretto, so through these gradations ne
makes a creature OF triple fascination, ap-
peal and richness OF characterization. The
sense OF gesture ESPECIALLY In the forest
scene. admirably composed and planned
by the tenor). tho enliyenlng touch OF the
human and. best Of all. tho imaginative
grasp of fine art are in such a conception
II 10 precisely this subtle grip on the au-
thor'a intention that eludes Carl Braun
iaudRbls basso and earnest student that no
Ia His wRnderer Is OF all things operatic
though II Is very capable and sonorous
However there was poetry-misty and per-
vaslve as tho earthly orfce from which sho
cones-ln the ErdR OF Louise Honor
That scene of hers was particularly wei
staged. tho oppressive height and omlnous
color OF the rocks being suggested with
olevernsss OF lighting that did not always
prevail at other points In the drama. but
the stage management was generally ef-
feetive, II conventional Only a friendly
spirit prompts the advice that the prosalo
stepladder on which sieEfrisd mounts. ap-
paTently. 20 tho haunt OF the Valkyr be
concealed next time. u. D.