The New York herald., 1922-01-01

II IL udruly ucCS5odfy 10 duo tits1t
this is a good opera story. What
Is good opera story? Simply one IN
which dramatic materials for musical
lights and shadows are artisticaIly
supplied. There must be love ana the
dark enemy OF love, hate or jealousy.
There must be moments of repose TO
which are contrasted moments OF ac-
ton. Of agitation. Above ali. the per-
sonages of the drama must be human
beings, actuated by the sort OF pas
sions that generally move men and
women in the great crises Of life. A
drama must always contain crises.
The ordinary experiences OF wash day.
shopping or promenading on Main
street are not dramatic materials.
Lalo selected a very gloomy tale, to
be sure; but most serious operas are
founded on depressing stories. Oppor-
runities for professions and ballets
and other merry makings are ear
nostly sought by clever opera writer's,
but are not always obtained. The
music Of lie Roi d'Ys'' Is not to be
discussed at this moment. but il may
be said that Lalo Is noted for the
grace Of hts ideas and the richness OF
his orchestration- In this city he
seems 70 be fated 10 be known by his
perennial Symphonic Espagnole," :"
without which no violinist's repertoire
is complete
Composer Meets Difficulties.
Lalo had hard time getting his
opera before the Partisan public. Just
when he began work on the music is
uncertain. Manoury. barytone, sang
an air from lie Roi d'Ys" at a con-
cert of the Societe National in Paris
on April 20, 1876. and a duet from il
was sung by Nine. Lalo and III. Fuchs
at a concert OF the same organization
on March 13, 1880. II seems probable
of the opera was not completed till
1881. In 1886 Laio made a number of
important changes in his score, which
was finally delivered to the publisher
IA 1887.
The composer naturally desired TO
have his work produced at the Grand
Opera vaucorbeii, before becoming
director OF the Opera. praised the work
highly nnd recommended It to the
Minister OF Public instruction. When
nc was appointed director his ardor
cooled, and when Lalo reminded him
of his admiration for "Le Roi d'Ys,"
he responded by inviting the CON-
poser 70 write music for "a ballet on a
scenario furnished by the new d.
rector
L.alo had only four months in which
TO write this score. He did II, but he
had stroke OF paralysis. from which
no recovered. "Namouna,- the ballet,
was brought forward at the Opera on
March 6. 1852. with Mile. Rita Sangalll
aY the principal dancer. Meanwhile
the opera remained unperfor1ned.
when Caravolho became director of
the Opera the work was played to him
M the home OF Gounod. with the COM
poser Of Faust singing some OF the
passages. But Caravalho was uncon-
vfnced and declined to produce II.
rsalo. however. succeeded In finding
a publisher, swhereupon Parevey, man
agcr Of the Opera comiquo. asked per-
mission 20 produce the opera. I.aio
was already well known as an instru-
mental composer when this work was
finally introduced to Paris IN 1883. The
0emposer was then % years old. bu,
nf last he found favor IN the eyes OF
his Government ana was made an Of
fscer Of the Legion Of Honor. The ono
hundredth performance OF the work
took place NJ the Opera Comique on
May "a. 1890.
In order that the historical record
be- not impugned. let US hasten TO add
that the first performance Of lie Roi
G