The New York herald., 1922-11-28
Tristan und Isolde
Opens Third Week
ofOperatic Season
Presentation of Wagner Work
Excels in Ipholding Ideals
Of Composer.
by w. j. HENDERSON.

The third week OF the season OF
opera at the Metropolitan Opera House
began last night. The opera pre-
sented was Wasner's Tristan und
Isolde" which was the second of the
Wagnerian list to be brought for
ward. The performance was one to
call for much praise. Indeed in some
OF it's details it transcribed all those
OF recent seasons. But the artistic
purposes of Wagner demand first Of
all unity Of conception and perfect CO.
operation in Interpretation on the part
of all concerned In one of his dramas.
1t is, therefore. imperative to say,
first of all, that last evenings presen-
tation excelled chiefly in its conference.
its upholding of the composers ideals
and its sustained dramatic moods.
The musical Interpretation was. Of
course, guided. if not wholly governed,
by the intelligence of Mr.. Bodanzky,
whose treatment of this opera is we'll
known to all music lovers. 1t is in
telligent rather than emotional, finely
conceived, vigorously carried out and
generally discreet in its adjustment of
not possible for the conductor to at
tain his ends at all times because of
the individual preferences or abilities
OF singers. but on the whole last
nights may be set down as an adj
mirable Tristan und Isolde"
Probably the pictorial problems Of
the first act will never be solved. but
something at least might be accom-
plished in the direction of greater
illusion in the first act. A ship on
the stage is an obstinate and i'll man.
nered beast at the best of times. but
it is not imperatively necessary that
the tent in the waist Of medieval
vessel should be made twenty feet
high. Some of the yachtsmen in the
audience must have wondered how
Tristan could be SO essential to the
safe steering of the ship to King
Marks land when he could not see
ahead of the mainmast, even though
he was at the summit Of a top gallant
poop.
But who cares about such matters?
Who thought of them while Nine.
Matzenauer as Isolde and Nine.
Onegin as Brdngdene were carrying
on their tempestuous dialogue in the
big tent? Here were Isolde and a
Brdngderc well paired, capable of
filing the great stage with splendid
presenc.s and sending through all
the house waves OF vibrating emo
ton. One might have wished that
Nine. Matzenauer had left Isolde's
massive crown of emeralds and dia-
monds In the ships safe. 1t crushed
her features and killed much Of her
facial expression. But she sang with
immense vigor albeit some Of the
force her voice into disagreeable
quality.
OF Nine. Onegin's Brdn0dene il may
be said briefly that it was superb.
vocally and dramatically, rich In
shades of expression, beautiful to see,
moving to hear. The conception of
the part was just and dearly con-
veyed. This impersonation will be
witnessed again and there may be
more to say about it.
Curt Taucher. the new German
tenor, made his second appearance OF
the season, singing Tristan. His is
not q heroic figure, nor has he mo-
bile countenance. His voice, too,
rarely softens and its tones are with
out variety of color. But his Tristan
was decidedly good because of its in
telligence. its great fervor. the clarity
of its diction and it's general obser-
vance OF significant details. Mr..
Taucher, as actors say. read his lines
excellently. He can sing legato, and
does mot break up Wagner's melodies
into bits OF glittering staccsto. He
should prove to be n serviceable addi-
ton to the company.
Clarence Whitehill as Kurrcadl and
Paul Bender as a stalwart and vo-
cally vigorous King Mark we're the
other chief singers. Angelo Bada, to
whom all languages are easy. was the
unseen sailor and George Meader the
necessary shepherd who sighted
Isoide's ship.