New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-01

! size is that it unQuestionably requires
people of the nationality the same as
l the composer of the opera to
be able to represent the charac-
tiers Of these operas properly
both as TO the transmission OF
the text and the music, TO the public.
/ OF course, it is not said that every
German can represent satisfactorily
any character in German opera. My
comments. are limited to artists. |
frankly admit that no German can
properly sing Italian operas, as they
simply are not in the spirit of the
work and do not understand it. On
the other hand, it has been frequently
made mention of in the newspapers
that Toscanini some years ago, when
he was conducting the "Meistersinger,"
gave a beautiful rendition Of the same,
but that he entirely missed the German
spirit and atmosphere Of this particu-
lar work, which was essentially Ger
man, the scene being laid in Nurnberg
Simply along the same lines Of argu-
ment, l contend that Mr.. Whitehill,
owing to his Anglo-Saxon ancestry, is
quite incapable of instilling into the
part that personality which is the real
personality of Hans Sachs, l attended
the performance Of the "Meistersnger"
referred to, and, in spite Of all the ad
verse criticisms made about Mr.. Her
mann Wells rendering of this part
land | admit that Mr.. We'll is not one
Of the greatest artists we have had to
render the parts which he takes in Ger
man operas), at the same time there is
no question that he is considerably
more In the spirit OF the opera than
Mr.. whitehill ever could be. Mr.. White
hill is 10 be credited with clear diction
and beautiful natural voice. How
ever, his voice is cold and has none of
that famous quality in it which in Ger
man is called "Gemuth"-a quality for
which there is no English word, no mat
ter what dictionary you may consult.
He does not know what this is, and
neither is this 10 be heard in Mr..
Whitehilps voice, nor is it to be seen in
his acting. The monologue in the third
act was completely spoilt, owing to the
fact that he sang it to the audience
and gesticulated TO the audience, in
stead of musing by himself, entirely
oblivious to the audiences presence.
The sarcastic humor in the first act,
where Hans Sachs tells Beckmesser
about the little verse which he wrote
on the "Eseltreiber's Schulz" and then
makes an allusion TO the verse which
he intended to write on Beckmesser's
shoe, but had not been able TO think OF
as yet, was entirely lost.
| do not wish TO take your valuable
time by stating any more instances, but
/ did not want to let your criticism
stand without informing you that there
was at least one operagoer land there
are undoubtedly many more) who does
not at all agree with this verdict Of
most Of the newspapers about Mr..
Whitehill's superiority TO any one we
have had here since Emil Fischer.
trust that you will not take from
this that am in any way trying TO de-
preciate Mr.. Whitehill's value as an
artist but feel very keenly that Mr..
Hermann We'll, who is true, sincere
and conscientious artist, even though
he may not have the largest voice, does
not receive half the credit which he de-
serves. but simply, owing to his nation
atty, which enables him to understand
the spirit of the opera. his representa-
ton Of the character Of Hans Sachs is
far superior to any representation that
Mr.. whitehill ever could give, owing to
his Anglo-Saxon anteeedents.
The same may be said regarding his
performance Of Kurwenal recently In
Tristan and Isolde" compared with Mr..
Wells. Az TO your criticism some time