New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-11-03
MOZART MOVES
TO THE GARRICK
Supplementary Series of
Performances of His
Two Operettas

Albert Reiss's brilliant Mozartian en-
terprise opened at the Garrick last night
for series Of four additional perform
ances in response to an insistent de-
mand which does New York honor. In
their new home the two graceful, spark
ling operettas gain in delight by the
happy accident Of better acoustics.
Enough was said in these columns after
the original performance in praise Of
the spirit of all concerned in the pro
duction-Mmes. Mabel Garrison and
Lucy Gates and Messrs. Reiss and
Bispham, and of the quality Of Mr..
Frsnko's musicianship. II remains now
to add word Of appreciation of Mr..
Krehbiel's delightful libretto. Though
based upon the story Of an earlier IL
brettist, it Is practically Mr.. Krehbiel's
own. Some cuts in the dialogue made
at the first performance were restored
last night, TO the greater entertainment
Of crowded and enthusiastic house.
The artistic temperament is eternal.
II never changes. As it was, it is, and
ever will be. That is the foundation of
the story "The Impressro" tells in
witty dialogue and lyrics that sing
themselves. Mr.. Krehbiel knows the
temperament. he has as much knowl-
edge of il as any impresario, conductor
(often another case of temperament or
stage manager. And he has had wide
experience Of it from still another an
gle-the critics. So, though we are In
Schikaneder's Office in the Vienna opera
house a hundred years ago, we might
be behind the scenes at the Metropoli-
tan, or the COstanzi, or the Paris Opera
to-day. Even the orchestra had its
own peculiarities then as now, though
then II had no union TO decide that
Mozart operetta are grand opera be-
cause he was that kind Of composer.
Schikaneder is writing the libretto
for THE Magic Flute; Mozart is writ
ing the music. The one is all for what
the public wants; the other for art.
Schikaneder declares that the public
wants tunes, bravura.
81 know" says Mozart. Coloratura-
that's the way a prima donna bewails
the loss of the child stolen from her
armsi" And, anyhow, Schikaneder il
stealing ideas for his libretto.
To get even, the librettist tells the
composer that he is going TO intro
duce an elephant into this new operetts
of theirs. He not only says it, he
sings it.
10 ka
Schikaneder's nephew, seeks an engage
ment for his inamorata. But she is
Austrian. not an Italian, and, like the
New York Of to-day, the Vienna of a
century ago demanded foreign artists.
The worse for our people!" ex-
claims Mozart, that they care more
for foreign names than native and re-
ward artists for not being Of US" So
the young singer pretends that she is
an Italian.
A Pamina is needed. She shall sing
the part. The prima donna, entering,
insists on being consulted in the mat
ter. She wants all the coloratura for
herself. She is the only prima donna
assoluta there. That's settled. On
the other hand. Schikaneder has to ex-
plain to the young Austrian that there
are two first parts in "The Magic
Flute" and that "the second first part
is not the first second part" Not by
any means. From the depths of his
harassed experience he draws the mug
get of wisdom that a singer is most
engaging only when she is engaged in
singing.
And so the story is told, with a con-
slant volley of illusions to the artistic
temperament, as it has been, is and ever
will be in the operate world, and
with a lightness Of touch that is truly
Viennese. Composers and managers
are clamoring for good librettos. Here
is one, a graceful trife, perfect of its
kind. W.