The sun., 1919-01-25

Giulio Gatti-Casazza put forth an
ether novelty at the Metropolitan Opera
House last night. 1t was la Refine
Tiammette," opera in four acts. music
By Xavier Leroux. The book is prac-
tically the drama of the same name by
Catulla Mendes. who prepared his work
for its lyric transformation.
The play, which has been given here
- Julia Marlowe. dates from 1889. the
opera from 1903. It has had a long
voyage from France. Whether It was
chosen At this time to provide yet an
other medium for Miss Farrar's art or
for the blazing brush Of Boris Anisfeld.
who has provided the singer with Bakst,
Corregian and Tit!anesque backgrounds.
would be difficult to determine. The
production was most gorgeous and Miss
Harrar was every inch a wayward queen.
Sixteenth century Italy and Bologna
(raised to a kingdom) are presented to
our contemplation. Fion,m cite is
soubriquet imposed on Orlando, the gay
young Queen OF this realm. She has a
consort. Gioroio. who finds favor with
a. Church. The Queen does not enjoy
such favor and the CardtnoV Cesar
Sforso, a dubious scion OF the great
house founded by the Despot Francesca,
arrives in Bologna for the cheerful
medieval purpose Of comprising the
death OF the Queen.
Selects Monk to BE Slayer.
GtoroIo, who covets the throne, and
several courtiers are willing. but they
arc a group Of fifteenth century gentle
men. who always hire their murderers.
and the Cardinal selects a young monk.
al..v
happens that he Is her lover. although
he does not know that his innamorata
IS the Queen. When he IL about to
strike her with the dagger he discovers
her identity. and refusing to murder
her is arrested by the Cardinal. She
Indicates In favor of Gior0io to save
her lover. but the Cardinal cannot be
cheated thus and has her condemned
for heresy. The very cheerful opera
ends with the Queen and her lover
facing the headsman.
This incomplete outline necessarily
osnits many attractive details. The by
play OF maidens in court and cloister
is much the prettiest part Of the opera.
There are episodes in the flrst scene,
such as the merry pursuit OF women by
ardent youths. which suggests pages OF
Boccacio. and the charming scene IN the
convent, in which Fidmmette teaches
d
sweet impression on the memory
Unfortunately the tragic incidents
have no power. The scene In which
D0ntelo PUSHES upon the throne with up
lifted knife only to discover that the
Queen is his mysterious beloved falls
as fat as a shadow. Nothing could be
more bungling than its treatment both
in the book and the music.
Brings Some disappointment.
A new opera looms large upon the
horizon Of the musical world; but in one
respect II is like the moon, which often
mette" aroused hopes and brings some
disappointment. 1t is not composed with
force or communicative eloquence. The
method Is fawless mode, alton The
dialogue Is carried forward In dull and
proeaic arioso. for which one frequently
feels he would gladly exchange a single
resounding quotation from the stock
phrases of the classic recitative
The larger emotional proclamations
are made in the half melodlc, half
declamatory style which infects such
creations as Fevrler's "Monna Wanna"
and which seems to be precious Inherit
ance from the pedantic treasury Of
epontini. Possibly the time will come
when the traditions of the Racine trag-
edy will no longer burden French opera.
Massenet has entirely escaped them
and likewise Saint-Saens They are ac-
cordingly popular composers. But the
uninspired French musician always re-
verts to the courtly day of Louis XIV
and Mol!ere, lies down with a score of
Lully or Rameau under his pillow and
tries to dream new ''Armide" or
-Castor and Pollux."
Reverent to Tradition.
Mr.. Leroux bows reverently TO tradi-
ton In his conversation. His. Cardinal
certificates and plots with all the So
briefly of an automaton. His crafty
Prince consort would not alarm a nun.
His passionate monk occasionally rises
above the dead level OF 5 o'clock tea
conversation and dscloses a certain
energy which finds its utterance In POM
pous phraseology and high notes
The queen moves lamentably through
the maze OF sordid intrigue singing her
soul out in commonplace OF the lyric
stage. She, like her lover, does at times
strike fire. but the blaze is merely an
explosion. There Is no conflagrat!on.
nor Is any auditor much disturbed,
The best music Ia accessory There
10 grace IN the opening trio, the boat
song Is melodious (boat songs are al
ways good In opera) and the dancing
lesson is delightful There are several
little girls running about through the
action. commentators on II rather than
partakers In II. and they always have
pretty music. Possibly Mr.. Leroux
would compose a good pastoral. That
also would be respectful of the ancient
traditions Of the French lyric stage.
Production IL AdmirabI
The production OF the opera is admit
rable. Reference has already been made
70 Anisteld's scenery. and since scenery
10 now one Of the foremost stars at the
Metropolitan 1t may have precedence.
The style of the landscape settings is a
modern and impressionate imitation OF
early italian and the design shows at
tention to models found In the back
grounds Of the Venetians.
Tho voluptuous effect of the scarlet
trappings of Fla mmette's chamber makes
one expect to discover the plump Danae
OF Naples couched In the bed instead of
the apostle DanteIo. The convent room