Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-01-09
SAINT ELIZABETH" IN
ANOPERATIC DRESS
Stage Version of Liszt Oratorio
Is Novel Bill at the
Metropolitan
ADMIRABLE PRODUCTION

SAINT ELIzABETH-Musicai legend in a
prologue and four tab, t,a6,eaux; Book by
4 constance Bache. Music by Franz Liszt
Produced by METROPOLITAN Opera Company.
Metropolitan Opera House.
Landgrave Ludwig ...., Clarence Whitehiii
Isndsrsye, aetmsnn sdnsIs ,ts,1,rs; sehiosc
The Seneschal .....,...... Robert Leonard
Hungarian magnatsii dsi,a.., Basil Ruysdael
Elizabeth ............... ,Gons'anze Bitterl
IDD tondacicr-Ariar BodansSy.
No vogue for turning oratorios into
operas is likely to arise from the Metro
politan Company'S experiment with
Liszt's "St. Elizabeth" The venture is
commendable from several angles and
bespeaks keen artistic initiative, but It
SERVES also to emphasize the eons-old
truth that no theme however lofty, can
make its full appeal from the stage with
out recognition of certain vital dramatic
elements. In oratorio these may be
freely unconsldered, Neither their pres
ence nor absence Is material to the sue
cess of choral. nonscenic works. Thus
asamson ct Dalila," throbbing with
dramatic power. makes an admirable
conventional oratorio and SO does Cesar
Franck's "The Beatitudes," in which the
subject matter is static and wholly ethi-
cal In other words. II Is very easy to
convert many an opera into an oratorio
and extremely difficult to reverse the
process.
Laboring under this handicap, Mr..
) Catti-Casazza has done his utmost for
"Saint Elizabeth He has enabled art
lovers to hear much admirable music
brilliantly sung, he has injected a nov
city into the seasons repertory, but he
has not produced an opera or anything
like one by the Able Lszt. "St. Eliza
beth" is merely a series of pictures.
strung together without footlght TECH
nique, monotonously insistent on a single
chord--that of super-religious virtue
and as lacking as the average mural dec
grafton in profound emotional content.
Let this verdict not be misconstrued
as barring highly spiritual themes from
the true province of the stage. Richard
Wagner triumphantly demonstrated their
efficacy in "Tannhaeuser" and "Parsifal"
He was a cunning operate dramatist.
Liszt was not and made no pretensions
In that direction save in the lost Don
Sancho' of his adolescence. That he
was denied even an unconscious instinct
for the stage is suggested in Artur Bo-
danzky's careful version of saint Eliza
DttH, NHtst puttitlcS VI liItcltSI SCdICtiy
ever touch the nervous sensibilites.
As a unique contribution to a musical
schedule, however. the work in its pres
ent form must take rank as one of the
significant features of q season whose
somewhat sterile aspects are undoubtedly
du, TO the effect Of war on art.
Considering the lack of cohesion, last
nights performance was by no means
continuously dull. Some of the episodes
had winning simplicity of atmosphere.
REINFORCED by exquisitely sympathetic
scenic and lighting devices. by glorious
vocalism and by score which, though
shallow in places, is as whole informed
by the sound technique of q musical
genius, is almost invariably melodious
and at times rises TO heights of genuine
sincerity.
1t would be easy t. say that the wag-
merriam idiom and the Wagneran tricks
of orchestration were generously en-
ployed, were the personal responsibility
for this definite musical manner not de-
ba'able. Whether Wagner primarily
influenced Liszt or vice versa is an un-
settled artistic riddle. Certain IL is,
however that the instrumental coloring
used by the Bayreuth master prior to
the "Nibelungen" days is often dis
cernible in Saint Elizabeth" 1t may
be found in the opening court spectacle,
IN the hunting scene, which briefly re-
calls 'Tannhaeuser," and in the "Lohen-
grinized' measures preceding the final
apotheoss. ASA . -
From the dramatic standpoint. the
most interesting portions of the score
are those in the third tableau, presenting
Elizabeth's expulsion from the Wart-
ourg' Moreover, even so "bromidic" an
incident as that of driving q heroine
out into the night" Is welcome after
scenes devoid Of motive power.
Some Of the ensembles have n fine
soiemnlty and their impressiveness was
trebly enhanced last night by the superb
eIiciency of the Metropolitan's chorus
This high artistic level was maintained
oy most of the members of a cast Sc.
lected with keen discretion Florence
Easton, IN the name part, indicated that
IN vocal loveliness. warm beauty of tone
and deep sincerity of method she Is in
fair way of becoming a second Emmy
Destinn. She is without doubt Mr.. CAT
t's most important feminine acquisition
IN recent seasons. Margarete Matzenau-
ers opportunity TO display her gifts was
manifested only in the third tableau,
which she dominated in familiar majes-
uc and eloquent style. Clarence White
MIL ordinarily SO satisfying was slight
~ out OF voice in the rose miracle scene,
out recovered some of his gifts in the
episode Of the Crusaders Farewell.
Inc performance Of the work in Eng
nsh Is admittedly regarded by the man
sgement as not contravening its own
pan against German opera. The present
text of Roquette's original libretto is
singable, but totally devoid of poetic
inspiration. Despite apparent consid-
Grafton for enunciation, many OF the
words failed to carry over the instru-
mentation. IL Is a question whether
this was due to the Lisztian manner or
TO an unfitness Of English for operatic
purposes.
Joseph Crban's sympathetic investi-
ture actually served better to convey
the points of the thirteenth century Leg
END than the rather vague action on the
stage The opening scene revealed the
betrothal of the two children, Elizabeth
OF Hungary and Ludwig of Thuringia,
az the Wartburg. The miracle In which
the heroine's largess Of bread Is turned
into roses (hardly for the benefit of the
poor. it would seem) was the salient
subject Of the first so-called tableau.
successive. episodes were the departure
OF the Crusaders to deliver the Holy
Land-a theme on which ironical refiec-
lions are prompted in recalling the pres
eent champions of the Turks--the BAN
ishment of the Saint and her last minis
try, cut short in this instance by the
mysterious and fatal disease that SO
Nlrulently attacks operatic sopranos.
Inc apotheosis was as effective as such
exaeting scenes can ever be made before
the footlights.
Mr.. Bodanzky read the score with un.
falling appreciative enthusiasm.
II. T. C.