New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-10-06
TNhe First Scene an
Artistic triumph

The opera has been vital in the reper-
tory ever since. There was much in the
representation to call out laudatory COM
ment The scenic outfit was beautiful and
appropriate. 1t scarcely needed the affect
ing music Of the first scene to attune sus-
ceptible persons to the melting mood; the
picture seized upon the Imagination and
emotions at once. This picture, like that
of the third scene representing the Elysian
Fields, was an artistic triumph. Both Rad
models in the beautiful revival which
Gluck's opera had had few years before
in Paris. Puvis de Chavannes might have
painted the models. The serenity of Greek
loneliness rested upon the glade in which
Eurydice was laid to rest and upon the
mead over which the blessed shades wan
dered through atmosphere burdened
made redolent by the song Of the mythical
minstrel. Strong in contrast, but not less
appealing to the fancy, were the scenes at
the entrance and exit of Hades. More
might have been expected Of the choreo-
graphic action than was offered in view Of
the fact that much attention had re-
Gently been given to the so-called revival
of classic dancing; but it was refresh
ventional pirouettng of former times NJ
Toscanini's treatment of the music was
reverential-more than reverential. it was
loving-and his spirit had its counterpart
in that OF Nine. Homer Hers was a lovely
overwhelmingly to the eye. in figure,
pose. movement. gesture, and equally lovely
in voice and song She had an admirable
companion in Miss Gluck, who sang IN
quest asilo" with exquisite taste. To close
the first act Madame sang an Italian version
Of "Divinities du StyX.' from Gluck's al
ceste,' following at Signor Toscanini's sug-
sestion a plan adopted at the revival Of
the work at the Theatre de la Monnaie. in
Brussels, in 1898 1t required only the
change of a word to make the INTERPOLATION
appear opposite to the situation, for the
situations in the two operas are very much
alike
But there are objections of considerable
cogency to be urged against the device
For one thing. Ornheus had only mo-
ment before given utterance TO an .nvoca-
ton to the deities of the underworld in 4
dramatic recitative and announced his in
tentlon TO conquer them with the sight o.
his grief and tears. AlAestis addresses
her invocation TO the Stygian ministers. TO
whom she is about ,o offer herself as
sacrifice for husband nor yer dead. Here
was dramatic poinr wh5sh should have
been considered. There was also an Oh
lection pertinent freni musical point u
view The orchestration of "Orfco" is ex-
tremely continent throughout the iaa-
pressive trombonos being used sparingy
and only to emphasize great effects. like
the "No,' which the Furies hurl at Orpheus
when first he appeals to their pity; but in
the air from "Alceste" trombonos and trum-
pets are much in the foreground. Though
Signor Toscanini had introduced the air
from "Alceste" for Nine Homer he per
mitted Nine. Delna to nterpolate in is
place an air from Glucks Echo ct Mar
/ cisse.' It's sentiment is one of those non
committal expressions which serve in any
moment of tragic pcrplexity in the old
fashioned lyric drama, but it was shorter
and made an effective ending