The New York herald., 1921-11-13


before the writer. The general con
this opera is the young mans best
of the psychological material in th
admirable characterization. Let us
fervently hope that we shall find
this to be the case Certainly if
there is Characterization, there is
something that has been absent from
opera or very feeble since Verdi's
'Falstaff." The story of the opera
ts not easy to tell. The book prom
ises well for stage presentation and
contains excellent matter for musi-
cal exposition, but it is hard to con-
dense into Sunday morning nara
tive. The book by Paul Schott is
founded on Rodenbachs "Bruges II
Mort"
The hero is the victim Of an in
durable grief for his dead wife. He
surrounds himself with everything
a that keeps her image fresh in his
memory. Hence when there appears
before his unhung mind a dancer who
is the living image of the dead he con-
ceives a mad passion for her. She
must take the place of the wife. Then
comes the dream, in which he learns
the true character of Marietta, the
dancer He beholds her in the theatre
dancing and posing after the manner
of a That's. He learns that his best
friend has fallen a victim to her wiles.
He and the friend quarrel, for he be-
comes madly jealous.
The vision leads to one thoroughly
melodramatic but theatrically effec-
tive incident. Marietta, jeering at
PGuFs love for the dead woman, per-
forms before him the ballet from
Meyerbeer's Robert le Diable" in
which a dead nun arises to become a
siren. This ridicule of the dead ex-
cites the hero's wrath. He bares his
soul in his rage and betrays the fact
that he has been battling desperately
with his brutal passion for Marietta
caused by her resemblance to the dead
wife, but which, while it conquers him,
fills him with horror.
"Mortally offended in her vanity"
continues the official synopsis, Mari
Gttd straightway takes up the con-
fiict with the dead woman. With her
arts of strategy it will not be difficult
for her to ensnare this weak and un-
stable man again. He surrenders
himself to her anew, botraying his
dead. He will go to her in her house.
No! to your house!' she cries like
demon; to the house of the dead
There she will celebrate the new nup-
tials. tasting her triumph over the
dead woman TO the dregs.
"In the third act, in which the
events OF the dream are further de-
veloped. Paul finds Marietta after the
night they have spent in his house, IN
the room containing the relics. In her
demoniacal rage Of triumph to which
she has yielded herself In front of the
picture of the dead woman, she puts
the devout and repentant sentiments
of Paul to the utmost proof. outside
the Corpus Christi procession Is pass
ing; Marietta tries to pull Paul away.
passionately. Paul must kiss her now,
even now.
"Shudderiug, Paul repulses her. In
his excitement he imagines he sees
the strange procession marching into
tho room. crowding in with threaten
ing demeanor. As Marietta jeers at
his superstitions. she arouses Paul
from his deepest convictions in love
and truth, and thus she charms him !
anew. Brutally, she filings at his head
his hypocrisy. the alteration of his !
vice, the impotence of his will. When |
Pau shows her the door, she does not |
give way; she takes up her conflict |
with tho dead woman; stll further. |
she snatches at tho relics. at the hair |
OF the dead woman she twists the |
braid about her neck and laughing |
loudly she begins TO dance. Beside |
himself. Paul hurls himself at the !
violator OF his most holy, and /
strangles her with the braid of
hair.
at this moment the vision ceases; |
Paul awakes, Marietta comes in just |
as she had gone out in tho first act. |
She has turned back 20 take the roses
that she had forgotten "A hint that
I should stay Since Paul re-
mains silent she withdrays. laughing.
Struggling her shoulders. Paul will
not see her again. He has become
wise: he has recovered. a dream of
bitter reality has demolished for him
the dream of his fancy. Paul will
leave Bruges, the city of the dead TO
give to life what is of life"
The text OF Die Tote Stadt" is Ger
man. In the list OF operas SGT down
for the first week is another of which
tne original language is also German.
rt is presumed that Lohengrln" will
bo sung In English as It was last sea-
son. without doubt tho subject OF
language does not agitate the greater
number of those who go to operatic
performances. They either make no
effort 70 bear the words. or prefer not
TO fxar them at all. A general and