The Washington times., 1917-02-14

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public be more consistently considered
in all the song recitaIs given here.
His protest was about the absence on
the program OF transIations of the
songs given by a soloist in many Ian
guages, which in one instance in
ciuoed those In Russians language
tthe most cultured hearer may be jus
tined in asking a translation of.
- Tone Carries Meaning.
When every tone carries a meaning.
as in the Schubert "Die Post" with its
intimate pathos of the letter that does
not come, or again in the changing
moods of "Die, ForelIe," the story of
the happy little fish in the brook who
later are the%tragic victims of the
nsherman who cheats them with bait
and kills them. the shades OF the
artists Interpretation are made richer
thousandfoid by knowing the i'm
port OF each phrase.
In looking back over tba .ho-t
opera season here by the Boston
Grand Opera Company. one is Impress
eo with the change that has taken
place IN the dramatic presentment of
opera, a thing that formerly was so
ruIl OF incongruities and bad art.
The Mephistopheles of Jose Mar
zones Is an illustration of this. In
FORMER days, with all his satanic
charm and seductive ways, Mephis-
Iopneies In Faust" bore much of the
Tag the child primers use which, might
have the inscription, This is a devil -
Nothing was left to the Imagination
In his picturesque garb of scarlet. the
nead-piece with its horns, etc. It made
its point, but 1t was an obvious art.
FULFILLED Modern wa.
The modern way was fulfilled by
Mardones. who has received much no.
toriety for his innovation with its
costume OF green and black and A
touch of majenta. The illusion was
sustained chiefly in the ruddy hair
with a twist to 1t that might have
covered his horned head, much as the
curls OF the marble faun almost con-
ceal his kinship with the land of
myths. The ireal conception was left
70 the play of face and gesture which
Mardones made most subtly convinc-
ing.
In Iris" too. the Mascagni Japanese
opera, artistic detail and fidelity to
the dramatic story made Il a repre-
sentation that recalled the BeIasco
play "The Darling of the Gods" The
only theatricalisH was the growth of
the Japanese flower, the iris, as a
blooming garden to enfold the little
child body whose pure soul had passed
into the beyond, the Iris for whom
the opera il named. But the idea was
lovely.
Symbolism Of the East.
The atmosphere and symbolism of
the East was created by the Oriental
foreword to each act in the libretto.
that told in the opening scene with
it's lovely sunrise. how Night deserts
the skies-her life-giving work is
donO-men and things have rested and
dreamed-she yields the helm of Life
to DAY."
A postlude gives the apotheosis of
Iris thus: THE air is filled with the
rustling of flowers around the dying
girl. The sun irradiates her with
crown of gold. - Her dream
is all Of light and flowers, and the
sun and flowers speak to her the
eternal language OF the Pity OF Love.
"Oh, Death, Lady OF Mystery, how
great art thou in thy infinite pity.
Thou, who placest such vast oceans,
such boundless heavens between hu-
manity and it's grief"
Expressive of Tragedy.
With music that fully expresses the
tragedy, yet II is as a literary and
dramatic work that "Iris" makes its
strongest appeal. The libretto is by
Luigi Illica and the English version
by w. G. Day.
The seventy-ffth birthday celebration
Of the Philharmonic Society OF New
York. to take place this week in New
York city. presents information OF in
terest 20 all music-lovers OF Washing
ton. for the Philharmonic Orchestra. un-
til this year. has given great pleasure
here through its unusual program and
its excellence.
The New York Times writes: The
Philharmonic Society is the third oldest
organization OF its kind in the world.
only the London Philharmonic and pos,
sibly the Vienna Philharmonic having
been organized previously 20 that in
New York in IS42. II is noted also for
having. perhaps. the longest list OF ia
nous conductors Of any orchestra. on
its record are names that stand out in
the musical development OF Europe and
America.
Bergmann First Famed Conductor. :
Its first conductor OF International
tame was Carl Bergmann. who was a
pioneer in introducing the music of
Wagner TO symphony audiences in this
country Theodore Thomas. whom all
Americans revere as the man who did
more 10 spread 'he loYe Of good music
in this land than any other one person.
was conductor Of the Philharmonic for
many years. After Thomas came An
ton Seidl. for four years Wagner's con-
idential secretary and friend. Among
other famous men who welded the
baton were Edouard Colonne. the
French orchestral genius Wassily Sa-
fanofr, the most noted OF Russian lead
ers Richard Strauss. the composer Of
modern scores; Henry wood. the Eng
lishman: Felix Weingartner. of Vienna
Philharmonic. md Royal Opera Gustav
Mailer, also OF Vienna, and now. OF
course, Josef Stransky.'
Mrs. Franklin Well known Here.
The presence OF Mrs. Henry Frank
lin. OF Baltimore. as accompsnist for
DIR. Merrill Hopkinson, baritone, in
song recital given at the home OF
Mrs. David Wright Wilcox here re-