The sun., 1916-10-22
BY w. J. HENDERSON,.

u gratitude. lie recalls with
horror the days when the hard
.,ar;ed Government OF France relent-
lcssly turned him into "A Hans Sachs.
nd he 4 tenor lie made shoes and
loneed for Broadway. lie was a pr.s-
oner of war. But in the fullness Of
line lie was made free and ever since
Ina, he has been giving thanks and
Atlantic.
Now he wishes to celebrate his
thanksgiving. and to that end he will
give some OF Us an opportunity to hear
Two one act operas OF Mozart. Incl
aer,aily We shall also hear Mr.. Reiss
,ocethcr with Lucy Gates. Mabel Oar
iison and the 81. Tainenund of his
Tribe. David B!spham. The day will
he next Thursday. the place the En-
i.re Theatre, for TIVE time being twin
sister to the bandlox Residenz Thea.
IT, IN the Hoftheatre PLATE in Munich,
Nhcrc Americans may not now go.
The two oporettas are "Bastien and
Rasiionn"" and The lm%presario."
Thc English version II the former IL
y \ Mattulath and that ~ the latter
~ Henry +. krehbiel. chief priest Of
To local Mozart worshippers.
Mozart "A IL years old when ne
composed "Bastien and Bastienne" and
! was first performed In the private
'7eatre Of a wealthy amateur. a DR.
Messmer. Jean Jacques Rousseau had
written an intermezzo called lie Devin
ID Village in imitation Of the opera
b1Aa II Italy, with which he had re-
Gently become acquainted. II was an
Ffllizei story % shepherds and shep-
Aeri.sses. Rousseau was an apostle
Z the simple life the back TO ma
'nre's heart plan Of existence.
l. II does not appear that he or any
other French people Of his time quite
Understood what he was talking about.
But he assuredly assisted in hasten
ne one Of the worlds cataclysms. for
when Marie Antoinette tried to prac-
'se his theories 10y spreading salt on
4 -" avenues of the Trianon and
II III riding in the summer. IL did not
lake iong To- rush from brunettcs and
cigarettes To the revolution. the Bas-
I'VE and the guillotine.
However,. "I.e Devin du Village"
'radHcrl in l1a2. became 40 popular
'sat every one from the King down
va" singing the music. The story was
'nt!mentality and naivete incarnate.
Present. day operagOers have never
met ANYTHING resembling it except la
Sonnanhula,' Nine. Favart. who has
e?Sclf Oeen the heroine OF operetias
ana who was y OF the goddesses Of
cay Paris, assisted by Harry, wrote n
}arooy un l.nusseau's work and called
y Les .\muurs de Bastien ct Bas-
''"nne.' The parody consisted in sub
shutting the real thing for Rousseau's
Arcadian land Of Vatican figures.
Nine. Favart wore a peasant costume
and Sahots instead Of "A ccstum" de-
''Sn"d for reproduction in "A Gobelin
"i"stry picture,
II" little creation inevitably drified
n 10 Vienna. where the comic oper-
: TIA with spoken dialogue had long
Men 4 favoritc diversion. Weiskert
'ransla'"d Nine. Favsrt's text and
MAJ" some alterations. Mozart wrote
no mus.r.
Tn" work was composed between
j, August and October. 1853. The in
s'rumental accompaniment consists OF
'"o violin parts. viola, W. obOes.
.orns and hasses. The manuscript Is
Ia Berlin. The overture opens in q
major with Il theme identical in part
with the first subject OF the "Eroica'
symphony. There are sixteen num-
beers IN the score. eleven airs. two duos,
a fr.p a rn,,,,,i,.. na-. ,-l q. +, nral
tn" dialogue was spoken. but for the
Salzburg production Of the work in
1859 Mozart wrote recitatives. 1t Ii
probable, however, that they were no.
used and that the spoken dialogue was
Employed as in Vienna.
Some considerable interest should
attach to the performance Of this
opcratta, We Of to-day often read or
near about the marvels OF Mozart's
WN"n!l" Genius. Certainly We may wei
J u" amazed AT the spectacle of a child oi
y writing IA comic operetta n not
OILY getting it produced but with pro-
touncei success. But this same in
ia't Vas composing opera In Italian
'"r Ill" Italians when he was Is. He
Is the one lncxplicable figure In tho
history Of music.
Naturally we shall expect to hear
nave music. The joy OF the tonai arr
"ai not In those days been sicklied
Ger with the pale cast of thought
mere were no soul problems to bs
solved and the spirits Of Z~arathustras
and the pess!mism OF the futuristi
mad not clouded the brilliant sunshine
VI me youthful and jubilant art.
We should not ask for anythini
lmore than an outburst Of boyish glee
'ne expression Of a highly intensified
childish imagination. We are told
mat there is much taste and not litt.'
artistic Judgment to he found In thu
score We are certain Of one thing
mere will be some good tunes. Mo
Iart always had aplenty Of them.
Der Schauspieldirector." Q 0ermar
comedy with music, comes from 1855