New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-02-10

Grau came Jean de Reszke, who, when
I'll Profeta" was given again, made the
most telling disclosure Of his artistic
stature that had yet been made. His
lmpersonation of the Prophet was, in
deed, one Of the finest achievements
recorded in the history of the Metro
politan establishment. Since we have
referred to other Meyerbeerian operas
IN this resume, it may be added that
this was the year when Miss Van Zandt
was permitted to chase Dinorah's goat
across the stage after that animal,
scarcely less foolish than its mis-
tress, had been permitted to sleep
twelve years, the last preceding per-
torrance of the opera having taken
place at the Academy Of Music. Only
few days ago Tho Tribune's musical
memorymonger met Mrs. Charles
Monson Raymond that is, Mrs. Annie
Louise Cary that was, and we tried 10
recall that earlier performance. 81 re-
member that I sang the part of the
Caprario," said the lady who, when she
retired from the stage, was as widely
loved as she was admired. "but who
was the Dinorah? Was it Marimon ."
Now came another hiatus, after
which, in March, 1899, the opera was
revived in Italian with an extremely
strong cast: Tamagno as John, Leh-
mann as Bertha, Brcma as Fides. Ed
do To
con as Obertha!. The robustious tenor
was q towering figure, physically as
we'll as vocalIy, but he seems to have
done little more to The Tribune's re-
viewer than to recall some Of the
earlier days: "Yct there were some
pleasant memories connected with the
representations which had been given
at the Metropolitan. The admirers Of
Albert Niemann arc not likely, even
when recalling his noble achievements
in the Wagner dramas, to forget the
marvellous dignity and tenderness with
which he infused tho scenes with
Fides, especially the cathedral scene. or
>the tone Of eXaltation with which he
acclaimed the dream recital in the
second act aud the prayer in the third.
Was 1t singing? Opinions differed; but
on one point all were agrccd-it was a
tremendously moving dramatic impcr
sonation. A few years later. whom
German made way for Italian as the
official language Of the metropolitan
opera, Jean dc Rcszkc showed how
beautifully, yet stirringly, the music
OF the part could be sung and how it's
purely musical elements could be liftcc
INTO such prominence as to win pardon
for much Of it's dramatic hollowness. \
noble, commanding, magnetic fig
ure in appearance and bearing was
NJ. de Reszkc's Prophet"
BY this time Mr. Grau's system of
giving operas in the languages for
which they had been composed was in
lull swing. and on March 10, 1900.
Nine. Schumann-Heink made her first
French essay as Fidcs. the other prin-
cipals being Alvarez, Edouard dc Res
Ike and Susanna Adams. The PERFORM
ance was not an unalloyed DELIGHT.
The Tribune's critic observed that the
performance, which promised at the
outset to go we'll musically, was
married by Theoretically bad stage
management and occasionally rendered
ridiculous. There was scarcely a mo-
ment when the listener could feel sure
that disaster &C some sort was not
impending. One incident, as amusing
as it was absurd, deserves to be rcmem-
bcred. What was the use of Never
beer and Scribe writing a sensational
trio. punctuated with the clash OF flint
and steel, if instead of the finder burst
ing into flame as tho result of the ex-
crtions OF one of the 18th century
Anabaptists he should illuminate the
features Of Oberthal in the tent scene
with a Swedish safety match at the
end locofoco more than two CEN