New-York tribune., 1921-10-31
Shrieks Of Joy
Greet Cadski
After 5 Years
Carnegie Hall Withstands
Nociferous Ovation and
Our Political Insti-
tutions IL main Intact
Singer Descends From Sub
lime TO Ridiculous i'm
Noisy Valkyrian 7 ellis

Nine. Johanna Gadski's concert took
place in Carnegie Hall last night. The
lady received q stupendously vociferous
ovation, but the building withstood the
shock aud our political institutions re-
main in undisturbed security. The
audience was large; so would it have
been. just as large indeed, had the
Philharmonic Society given a concert
Of Wagners music on q Sunday with
out the aid Of the singer who had
planned it wisely to serve the purpose
of recently on the local concert stage
after an enforced absence OF four and
half years But it was almost ex-
clusively German, which would not
have been the case under ordinary cir
cumstarces. And it had obviously
come together to do just what it did
pay tribute to German singer be-
cause she is q German. 1t paid the
tribute persistently throughout the eve
of applause, by lining the stage along
half its length with lunches of gor-
geous flowers, by cheering and shout
Ing. A few individuals in one of the
upper galleries sought to stimulate the
enthusiasm by uttering shrieks which
were too frenetic to be intelligibie
One portly gentleman who occupied q
seat near the stage stood UP during the
rounds of applause which greeted the
singer on her first appearance, but
nobody followed his example.
Elizaheth's Song Opens Program
At the concert of the Teutonic-S
Fem Alliance in May, 1917, Nine.
Gadski sang an excerpt from Tristan
und Isolde" which began with the
words, "Who was it dared to mock
me?" Some good people thought the
scene had been chosen because of the
against her during the concluding
weeks of her engagement at the
metropolitan Opera House. Perhaps it
was; at least, the excerpt was as un-
flt for concert use as that which she
sang from the same act of the opera
last night. But on this occasion her
opening song was more opposite and
more appealing to the ears and in
tellects of her hearers. 1t was Eliza
beth's greeting to the hall Of minstrels
in 'Tannhauser." But the audience was
not in the mood for thought and dis
elimination. Il was Gadski; it was
Guiding incident was illustrative of the
artistic, taste OF the multitude. The
singer mad concluded her set program
with a performance of Isolde's swan
song from Wagner's great love drama.
In its concluding measures her voice,
Which had taken on a gradeur, tran
guilty and beauty unmatched in the
preceding songs, blended with the
transtfgured harmonies of the orches-
ira, and freighted the air with puis-
SAINT and thrilling loveliness. 1t was
the Irresistible effect which this song
of songs, this supreme canticle of love,
= knc n
as theater. A true artist a conductor
mbued by the feelings of q priest at
the altar in the temple of art, cul-
tured audience, would have closed the
concert while such benediction rested
upon it
Gives Extra Number
But this was not to be. The multi
tude applauded, Nine. Gadski returned
TO the stage, Mr.. Stransky stepped to
his desk AMI raised his baton. There
was to be an added number. The baton
descended and from the band came
sounds initiating the neighing of the
horses of the Valkyrions. Frantic
shrieks CT delight greeted the sounds,
and once, and then second time, Nine.
Gadski sang the only song of the
evening in which all the words were
distinctly audible. 1t was that charm
iHS pit OF sentiment winch nye years
and more ago the admirers of Nine
Gadski's art demanded from her indis-
criminately at song recital:
"Ho-yo-to
Ho-yo- to-ho,
Yo-ho,
Ho-yo-to -ho,
Ho-yo-to-ho,
Hoyo-to-ho.
Yo-ho!
Ho-yo to -ho!"
We know one musician who refused
to permit Nine. Gadski to commit such
an affront to Wagner at a concert
which he conducted. His name is Emil
Paur, and when he told us of the in
cident he won more Of our respect than
ne had ever had before. But it hap
pened in Pittsburgh and before the
war.
bha STAGE n0or