The New York herald., 1922-04-02

Zauberprobe," BretZner's "Welbertre
Wette." Even Britain took a hand
at 1t and made it "Tit for Tat"
Treitschke turned Alfonso into a
magician and DespinG into a sprite.
Another bungler arranged the story
so that the maidens became aware of
the trial to which they were sub
jected and turned the tables on their
lovers.
At any rate these futile labors bring
us one pleasant reflection. Our opera
going public usually knows very little
about the dialogue OF the lyric dramas
which it receives and has rather vague
ideas about their plots. 1t is therefore
not much perturbed over the foolish
ness of Da Ponte. 1t obtains a gem
cral impression of the action, accepts
with little concern the nonsensical
premises and the bald incidents, pre-
tends 10 believe In the transparent dis
guises of the lovers and Desptnu, and
easily permits itself to be amused by
the whole childish masquerade.
But about the music it entertains
no doubts whatever. 1t was encourag-
ing to detected apostles of high art
to hear the many exclamations of de-
light at the first performance of "Cosi
Fan Tutte." Whether the opera re-
mains in the repertory or not-and
there are patent reasons why the pres
ent policy of the management of the
Metropolitan will not allow 1t to do
so-the record will stand inexpungablc
that in the year 1922, in the tri-
umphant era of "Ernani," don Car
los" and "Loreley," many hundreds of
operagoers found the pure and ele-
waited numbers of Mozart entirely de-
lightful.
Singers Had Correct Conception.
We need not try to delude ourselves
into the belief that the music was ade-
quately sung. It was brought before
the public in a commendable manner.
The six members of the company en-
gagged in the presentation had devoted
themselves heart and soul to their
preparation. Some Of them astonish-
ingly excelled themselves. But one
thing stood forth so prominently that
Il should not be passed without espe-
attempt to sing loudly. On the con-
trary repression. smoothness and fin
ish seemed TO be the chief objects OF
ali. Which goes to show that they
had formed a correct conception Of the
art of Mozart.
Tho audience left no doubt of its
enjoyment Of this restful lyric style.
The pure, sunny beauty OF Mozart's
melodies undoubtedly gave most Of the
hearers new sensations of pleasure.
Instead OF being dazed and stunned,
they were enraptured. They found
themselves in a new musical world.
one whose exquisite beauty contrasted
with the every night life OF the opera
house as Gluck's scene in the Elysian
fields contrasts with his riotous melee
in the pu -iieus Of Hades.
There ought to be a lesson IN this
for singers. 1t ~ not necessary TO
shrek at operagoers in order to OBJ
tain their applause. True. there Is a
class Of frequentcrs of the Metropoli-
tan whose hysterical cries OF delight
can be evoked only by hysterical cries
on the stage. But what these opera
goers demand and receive does not In
any way rebound to the glory OF lyric
art, nor does Il make any substantial
increase in tho fame OF the singers.
Danger OF Loud Singing.
Mr.. Gigli is going to succeed az the
Metropolitan In spite Of the fact that
he cannot screech for the gentlemen.
If he should decide to make systematic
efforts to do 50 he win enjoy a brief
pert ID of strutting on the lyric stage.
Miss Farrar who Is about 70 bid fare
well 10 the Metropolitan Opera House
indulged for several seasons Ia loud
singing, with the result that she pretty
nearly lost her voice Then what
happened? People who had applauded
her for shouting eagerly demanded
that newspaper commentators should
widely publish tho fact that she had
lost her voice, could no longer sing
and ought to be dismissed from the
company.
S-ow that Miss Farrar has ceased 10
seek for big tone and has contented
herself with endeavors to make beau
tiful sounds these same people are
denouncing those newspaper recorders
who do not declare that the sopranos
voice is gone and that she ought to
follow IT, They are &c lave their de-
sire. Miss Farrar is going. Those
who have watched the Metropolitan
opera House for the last fifteen or