New-York tribune., 1920-02-29
Catti-C -Casazza's Explanation
OF the New ''Parsifal'' Scenery

"As the abandonment Of the moving
panorama In the first and third acts
OF our new production Of 'Parsifal
has occasioned so much comment pro
and con-" said Mr.. Giulio Gatti- Casatza,
general manager Of the Metropolitan
Opera Company, yesterday, ut may not
be out of place for mo to assure your
readers that the suppression WAS due
neither to caprice nor to disregard Of
Wagnerian traditions. On the con-
trary, 1t Is due to logical considcra-
tions.
"What vas Wagner's purpose in en-
ploying moving panorama 2"
ellis idea was to give the impression
to the spectator that Parsifal and Cur
nemanz were walking through the
forest all the way to the interior of
the Temple Of the Grail.
"To realize the effect plastically,
Wagner, In cooperating with tho famous
theatrical machinist Brandt, conceived
plans for an ingenious panorama un-
folding itself in the direction opposite
to that taken by Gurncmanz and Par
sifal.
"The scheme worked out splendidly
on the mechanical and pictorial sides,
but as an illusion it was 8 failure.
The fact is that when the rehearsals
at Bayreuth began the panorama had
hardly begun to move when it was seen
that the two singing actors had to
retire to the wings. This sudden dis
appearance Of parsifal and Gurnemanz
always occurred both at Bayreuth and
at the Metropolitan. Now, ask YOU,
what use is there in. having a moving
panorama if one Of the most impor-
tant elements of the illusion sought to
be produced Immediately vanishes?
Several new notifications Of and
new experiments with the mocha
nism We're tried after Wagner's death,
but in spite Of all efforts no satisfac-
tory result ever was reached.
However, as it was question Of an
effect sought by Wagner himself, and
as he was very set in his ideas. never
being willing to yield, the moving
panorama remained in the stage set
ting at Bayreuth, and was copied
faithfully by Heinrich Conried for the
Metropolitan.
Nevertheless, it is a fact that when
Parsital,' after its escape from it's
prison in Bayreuth, appeared in vari-
GUS other European theaters, not one
of these theaters thought OF repro
duclng the moving panorama--not even
the most orthodox theaters of Berlin
and of Vienna, where I saw 'Parsifal
given without the panorama
Furthermore, never have under
stood the reason for tho peculiar at
traction which the panoramic effect
had for Wagner, considering that the
idea was not the creation Of his own
imagination. Some years before Par
sifal' had its premiere at Bayreuth-
that is, in 1851 recall having seen
ballets produced with moving pano-
ramas behind actors who remained in
position. I also remember having my
self owned little theater of mario
nettes which had a very nice moving
scenic panorama from the operation Of
which | derived much childish amuse-
ment.
Now, I say, when one hopes to real
ize certain effect and instead makes
failure Of it, for my part think that
the best thing to do is to get rid Of it
and rather seek an effect more ra-
tional even If it be less ambitious.
$50 much for the moving panorama!
"Now for our new Klingsor Garden,
regarding which there also has been
more or less comment" continued Mr..
Gatti- Casazza. "Frankly, l recognize
the fact that many Of these criticisms
have been justified-so much so that
may tell you that next season the
Garden will be changed.
"But you must not forget that there
are great difficulties to overcome. All
who have been Mt Bayreuth will remem-
ber perfectly that the famous garden
was studied and restudied by the