New-York tribune., 1920-02-20
Mr.. Krehbiel's Version of
Famous Wagnerian Opera
Makes Fine Impression
on Metropolitan Audience
Translation Is Adequate
Noted Cast Gives Superb In
depreciation of the Score;
Bodanzky Yields Baton
BY Crenville Vernon

from the demeanor of the huge audi
ence that greeted it yesterday after
noon it's return is welcome. "Parsifal"
was chosen by Signor Gatti-Casazza as
the least likely Of all the Wagnerian
dramas to offend the sensibilties Of
the American public, and Of the wisdom
OF this choice there will be very nearly
unanimous approval. "Parsfal" has in
it nothing of the spirit of Prussianism,
and disciple of Treitschke or Bernhard
would be the first to label it as the
apotheosis of all weakness It's con-
secration of the virtues of pity and
love ought, indeed, to be anathema to
the violators Of Belgium and of France.
1t comes to us, too, In an English
translation, which thus removes the
only possible remaining objection to
It's presentation in country which is
stlll at war with Germany. The trans
lation was made especially for this
performance by Henry Edward Kreh-
biel, and it is not too much to say that
1T is beautiful in itself, reverent in it's
adherence to the spirit of the original.
and, rarest virtue Of all, exquisitely
singable.
Language Sufficient
Those doubters who have insisted
that English is unsuited to opera, and
who have pointed to the librettos of
The Pipe of Desire" of "Shanewis"
and of "Cleopatra's Night" in support
OF their contention, have only to listen
to Mr.. Krehbiel's English "Parsifal" to
realize that it has been not the Ian
guage but the librettists who have
failed.
English in the hands of master
can be as superb in song as it is in
poetry, and given singers who know
now to enunciate it can be made as
clear and as telling as any other
tongue. Of course, there are operas
which DO not bear translation into
tongue essentially alien in spirit-an
English Carmen" or "Manon,S for in
stance, is never a pleasing thought.
any more than is French Christian"
or "Meistersinger."
bqt wagner is eminently suited to
the English language, and inasmuch as
wagner himself insisted on the neces-
slty OF an understanding of the libretto
1T is to be hoped that all future Amer
lean performances of his works will be
IN our native tongue. 1t will be many
years before American audiences are
aole to listen to the language of the
burners Of Louvain with any degree Of
equanmlty, and when that time does
come there will be fewer of US who
Will be able to understand the words
OF work given in that language.
Ihe Germans pride themselves upon
having adopted Shakespeare, but they
give MN in German; let US do like
wise with Wagner. Let US give him
m English and in such translations as
Mr. Krehbiel's.
Opinions of "Parsifal"
AS to the position Of "Parsifal" in
the Wagnerian hierarchy, opinions diff
Ter and will continue to differ. There
are those who look upon it's philosophy
as insincere, mawkishly sentimental.
even decadent. There are those who
consider much Of it's music lacking in
spontaneity. Be that as it may, there
are scenes which proclaim Wagner past
master OF the theater, and pages, nota-
bly, the Good Friday Spell and the
temple scenes, which find his music mus a af
lts lovellest and most majestic CUT
ting is always desirable and most
especially SO in "Parsfal," and Mr.. Bo-
danzky has realized this, not, however.
as FULLY as might be hoped. The first
scene yesterday was still good ten
minutes too long and Gurnemanz a
very tlresome person. let Mr.. Bo-
danzky sharpen his blue pencil and
set again courageously to work. There
-' - WI Seoiii iiOlHluS sacred.
The performance itself, considerino
the extraordinarily short time snent
IN rehearsals and the fact that MANY
OF the singers were utter strangers to
the work, was admirable.
Harold a Splendid Parsifal
Orville Harrold's Parsifal is re-
marKaole creation. Despite the fact
mat ne learned the part in fifteen
days d ne has made it quite his own.
Parslfal is peculiar figure, figure
who might be said to remind one alto
gether too strongly of that other
gulieless fool, Fielding's Joseph An
drews, whom Rodofo or Don Jose
might we'll find difficult Of compre-
hension! Yet especially in the last
act Mr.. Harold gave, a performance
of extraordinary spiritual intensity,
performance which he lifted by sheer
force OF imagination to heights where
tenors rarely dwell; in short Mr. Har-
rold's IS an lmpersonation worthy of
nigh place in the Metropolitan's Wag-
merriam gallery, figure conceived and
executed in the grand manner
And what relief to hear Wagner
at last sung by tenor with voice
and temperament and, best Of all.
by one who neither gargles nor barks.
The German tenor has gone the way of
the rest of German schrecklichkeit!
Moreover. Mr.. Harrold's nnunciation was
equally extraordinary; the writer did
not miss one single word he uttered
through the'whole performance. The
os Clarence Whitehil was
worthy companion to Mr.. Harrod's
Parsifal. In it Mr.. Whitehill sur
passed anything he had ever given us
before, and his depletion of the suffer
ing king was extraordinarily poignant.
Moreover, he was in excellent voice and
his dlctlon was a marvel of clarity.
Nine. Margarete Matzenausr has al
ways eesn admirable as Kundry. and
yesterday she felt the part in all its
variety Of mood, while despite q slight
accent her diction was surprisingly
good.
Leon Rothier made of Gurnemanz q
poignant human figure, in itself an ac-
acccmpll shnent of no mean order.
Adamo Didurs Klingsor will prove one
OF that artists memorable impersona-
tlons Miss Gordon, Mr.. Ananian, Nine.
Miss Romano, Nine. Delau-
nois, Miss Ellis, Miss Tiffany. Miss
Mellish, Mr.. Bada, Mr.. Qua and
Mr. d'Angelo were all admirable.
In addition, the chorus sang as
Mr.. Setti's choruses usually sing.
and, needless to state, Mr.. Bodanzkv
In his place in the conductors stand
was at once dynamo Of energy and a
skillful pilot.
The scenic investiture Of Josef rJr-
ban calls for mingled feelings. The