The New York herald., 1922-05-14

solo voices must be often Joined in
harmony.
Traits of Southern Countries.
On the other hand, certain Russian
operas have traits closely approaching
those of the southern countries. These
are tie operas best known to the local
music lover. "Pique Dame" displays
much Of the genius Of it's creator
Tschaikowsky. 1t is rich in that dra-
matte arioso, which is so literally en-
ployed in the modern Italian opera
OF course, Tschaikowskys declama-
ton has a melodic character of its
own, the product Of tie influence Of
Russian song and the government Of
Russian speech.
But even this admirable opera never
rises to such tragic heights as Nous
sorgsky's Boris" in which, the very
soul OF the conscience stricken usurper
Is laid bare in strains of agonizing
pathos. 1t has been said that the
success of this opera was the influence
which led Rubinstein to seek libretto
in the works of Lermontov and to
write his Demon" Tie incursion of
this Teutonic Slav into the realms Of
nationalism does not appear to have
impressed deeply the fathers of the
nationalistic movement. They found
Rubinstein's performance of the music
on the piano forte much more inter-
esting than TIE music itself. But of
THE Demon" little can be said here
since its first performance in New
York has not taken place at the time
of this writing.
In any retrospect of the lyric drama
Of Russia as far as 1t Is known here
mention of Borodins Prince Igor"
should not be omitted. But here we
are confronted with the fact that
Borodin died before finishing the work
and that the third and fourth acts,
especially the former. were very in
complete. Glazounov finished the third
and Rimsky- -Korsakov the fourth act.
Borodin had written the famous dances,
which, after all. are the most familiar
part of the score, and several other
important numbers. The first and sec
ond acts are fairly credited to him,
while the other two were done by his
two friends both thoroughly acquainted
with his ttematio ideas.
Rich I'm sonorous sounds.
Doubtless some close observers of
operatic art will have bestowed atten-
ton on the sound OF the strange lam
guage. We have had opera In Eng
lish, Italian. German. French. Spanish
and Yiddish, but we had not heard
Russian In the lyric drama except
when Mr.. Chaliapin used II In 'Boris."
In songs we have had many oppor-
tunities to hear IL.
The writer OF this article has no ac-
quaintance with the language. but its
euphony in recitative could not escape
any musical ear II is rich In sonor-
ous vowel sounds and suffers little OBJ
struction from consonants which seem
to play their proper part In clearly
outlining words and imparting to them
that vigor which an unbroken flow OF
open vowels destroys. One of the de-
privations which the patrons OF the
Russian company have suffered has
been the want of librettos. IL has been
possible to buy stories Of the operas.
but not the original texts with English
translations. It was not 10 be expected
that these would be prepared for a
season confessedly experimental.
Perhaps the experiment may lead TO
more ambitious undertakings. The
writer, for one, would like to hear the
important works of the Russian opera
composers sung by singers OF the high
est rank. Those now doing their best
in West Forty-second street cannot be
charged with gravely offending against
Clause l. of the memorandum lately
handed to Russia by the gentlemen
sitting in most uneasy conference in
Genoa.