New-York tribune., 1920-03-14
Further Discussion of
The New Scenery for
Wagner's 'SParsifar'

upon the stage in double Ale, draw the
admired surpentine curve around it and
draw up in front of the wings like two
regiments of well-drilled soldiers
/. then beg the orchestra to play
some march from Norma or Bell
sario,' but not my music" Moreover
there is nothing in the agonizing music
which our correspondent, following the
familiar thematic catalogues, calls
1.-The Saviour's Lament" which con-
Germs the external theater of the play
with which alone the pictures have to
do. The difficulties with the trans
formation scene, which in conception,
though not in execution, is as ingen-
uous as the moving back drop in
''Eunpty Dumpty" of youthful memory,
were that the scenery was subject to in
terruptions in it's progress, the rocks to
tremors and that the pillars of the tenn
pie in their march into view frequently
got stuck, destroying not only all illu-
sion Off there had been any, but
threatening the sobriety invited by the
dramatic moment and the music. AS
for ourselves, we never saw the pano-
rama in Bayreuth or New York without
recalling George l.. Fox (of delightful
memory working his feet up and down
and mopping his white head while the
back scene moved past him and repeat
ed itself, SO that with all his apparent
walking he never reached the shop Cor
was it the postoffice y for which he had
set out.
The music attending the transforma-
ton is an intermezzo, precursor of
the device to which Mascagni resorted
when he changed "Cavalleria Rusti-
cana" from an opera in two acts to
an opera in one, by holding up the cur
tain between two dramatic scenes. We
can imagine that for the sake Of those
who wish to have thAr eyes as we'll
as their ears keep Imagination tense
the purpose might be achieved, and
very artistically and effectively achieved.
by means Of two or three dissolving
views Of forest and mountain magniti-
cence, with perhaps a distant view of
Mons Salvatsch crowned with the temple
of the Grail. More that that, we have
graph might be employed to noble
end, provided the picture could be made
commensurate with tho first and second
scenes Of the drama and the projection
accomplished without disturbing the
mood Of the audience. 1t Is a venture
some suggestion, but we do not fear to
make it. since we are convinced that
successful execution would justify it.
There is no reason why such beautiful
ingenuity, art and skill as are daily
spent in making Wild West pictures
should not be put to a loftier purpose.
There are several problems in Wagner's
stage-art which might be solved by the
new invention.
Klingsor's Magic Garden
The correctness Of the criticisms which
have been directed against the picture
Of Klingsor's magic garden has been
conceded by Mr.. Gatti-Casazza, who has
promised that a new one shall replace
it next season. It's greatest defect
seems to US it's arrangement, which pre-
vents both music and action from reach
ing their full effectiveness in the scene
Of Kundry's narration of Parsifals
birth and his mothers sufferings and
ieath. The effect of Parsifal's pious
exorcism in Transforming the garden to
a waste is also feeble. Why should
he making of the sign of the Cross pre-
duce an eclipse of the sun? The old de-
ice was cheap and paltry, perhaps, but
more effective. There Is pertinency also
n the animadversions Of some critics,
including our correspondent, on the
,rst picture, which certainly does not
wen remotely suggest the scene called
or by Wagnsr's text. Here tho din
ulty. we fancy. lies with the lattsr-day
which Mr.. Urban shares with |
many other scenic artists, that some
hing more than mimicry u natural
esnes npst be- attsnpts that ~ /
suao iuasllus