New-York tribune., 1918-09-29
THE last novelty heard in New York
in the season OF l9OS-'09 was LA
prioresSe d'AuherCe which Mr.

in the season OF l9OS-O9 was LA
Princesse d'Auberge," which Mr..
Hammerstein brought forward on
March 10, 1909. The opera, which was sung in
French. was originally written in Flemish,
and its authors, Nestor de There and Jan
Block (who died in 1922, we're enthusiastic
Flammands who strove to keep alive a ma
tive expression among their countrymen in
the Netherlands. They did not find it an
easy task for besides Flemish the inhab-
tants Of what once was Flanders speak
French, Walloon and Dutch. French art has
long pervaded the culture Of the country,
but the Teutonsm of the Flammands is
strong and continues to be in rebellion,
though peacefully, with southern ideals -
peacefully, yet puissantly enough to pre-
serve many idioms as we'll as customs and
manners. 1t is possible for student of
folk music who is keen on the scent of racial
and popular idioms to find Flemish traces
in opera, though it is necessary that his
curiosity be piqued and his perceptions
sharpened in advance by the discovery that
The music does not sound French. Some ten
years before this American production the
opera had been performed at the Flemish
Theatre in Antwerp, in few cities Of Hol-
land and sfterward Gin French) In Brussels;
but its success was local and no greater
than that Of scores Of contemporaneous
French, German and Italian operas which
promptly found their way into the limbo of
forgotten things.
In the search for attributes which prom
ise to bring success works which contain
national traits are now receiving unusual
oft to ton
dency the great world Will doubtless
give new impetus. Picturesqueness of
scene and attractiveness of musical color
frequently atone for lack of depth and
beauty OF musical thought or melodic inven-
.ion. New York has been privileged to en-
Joy much opera of this character in recent
years; witness the Japanese pictures and
music Of "Iris' and "Madama Butterfly"
the Russian of "Siberia," "Boris Godou-
now' and prince Igor,' the mixed Polish
and gypsy OF Mr.. Paderewski's "Manru'
the Spanish of Carmen" ala Navarraise"
and "Goyescas," the Italian of "Pagliacci,'
"Cavaleria Rusticana" and "a Bassa
Porto
La Princesse d'Auberge." following the
dramatic lines of the three operas last men
toned deals with a story of Belgian low
life. 1t tells of the moral and physical ruin
wrought in man of fine intellectual fibre by
association with vicious and vulgar COM
panlons and surrender to debasing appe-
tites Retribution comes through crime in
stigated by jealous passion. The cause Of
the moral devastation and the physical suf-
fering which overwhelm the sweet and in
nocent with the base and guilty is q wanton
who trafics with her charms to promote
the business OF a dissolute nnkeeper. In
cldental to the exposition of the story there
Is an opulent procession of scenes from the
life of Brussels city famous for its rois-
tering gayety whenever occasion invites it's
populace into its beautiful public places and
streets The story might be located any
where in civilized Chrstendom and its peo-
pie found there. Not so the scenes. An
excellent and characteristic environment for
the play had been provided. There are four
stage settings and every one Of them was
sumptuous and historically and technically
correct. These pictures might, of course
be introduced IN opera with French, Ger
man or Italian investiture But they become
doubly effective when viewed through the
atmosphere created by Flemish music This
music is recognized first Of all, perhaps, in
the large admXture of bell chimes in all
the concerted pieces which inspire the pop
ular scenes. When DR.. Burney in his mem
orabe tour through Europe reached Ant
werp he descanted first of all OF. the pas
sion for carillons prevalent in the Neither
lands. When he got to Amsterdam he la
lnented the lack Of all music except "the
Jinglng of bells and ducats" The audience
on TINS occasion was entertained by similar
sounds. 1t was only in the dialogue and
the dramatic songs that the ear was not
saiuted by the imitation Of bell chimes from
the orchestra