New-York tribune., 1922-03-05

"1-ccnt August" are in existence,
it was said.
tentous. Of course, she was supposed
to be invisible to all others. but there
was no apparent illusion except that of
all concerned touching the story which
was cnacting.
Interesting Document
Both dramatically and musically
Catalani's "Loreley" is an interesting
historical document. In it's original
form and under another title it was
composed over forty years ago The
composer rewrotc it for the present
libretto and produced it in 1880, we
think Thirty years. before Wallace
had given his English "Lurlinc" in
London. Mcndelssohn, though he did
not find tho libretto entirely to his
liking, set to work upon it and finished
the finale of the first act, an "Ave
Maria for soprano solo and women S
chorus, and chorus Of vintaccrs, the
music of which has frequently been
sung in concerts in Germany and may
have been sung hcre-but not within
forty years at least.
Max Bruch composed an opera on the
subject, though he rejected Gcibcls
libretto when it was offered TO him.
This book was obviously the frame
work for the libretto set by Catalani.
The Italian poets followed Gcibcl's first
act closely, introducing the chorus Of
spirits who promise to avcnge the
wrong done to Loreley which had been
composed by Mcndclssohn. They also
followed the German poet in the scene
in which the siren interrupts the we'd
ding of her faithless lover with her
song of bewitchment. The present
opera. however, knows nothing of what
Geibel, no doubt, considered the culmi-
mating scene Of his drama--the SIRENS
trlal Tor sorcery, which ends by her
turning the heads Of the entire ccclesi-
astical court, including the Archbishop
which has had other operate settings
besides those mentioned.
1t is not altogether a secret that
when Messrs. Gatti and Toscanini came
to take into their heads the fortunes of
the Metropolitan Opera House they
were strongly disposed to produce
Catalani's opera. Because of the scenic
difficulties which 1t presents, however
they put it aside in favor of the COM
posers other opera, LA Wally," (also
on German story), which made a dis
NAL failure. 81 Wally" was a later
production than "Loreley," but both
operas bear witness not only to the
admirable talent Of the composer, who
died at the age of thrty-six in 1898 in
the midst of successful career, but
a to the fermentation produced in
Italy by the first production in that
country of Wagner's "Lohengrin.' 1t
must have been obvious to every ex-
perienced listener yesterday that
Catalani had been greatly influenced
by the German master though he re-
manned firm adherent Of Verdi's
cause and, like him, adopted many
reformatory ideas without surrender
ing his national ideals. "Loreley" is
full of dramatic conceits unknown in
Italy before the advent there of Wag-
ner's works, but it is melodious in
essence from beginning to end. 1t is
pregnant with dramatic characterize
tion in harmony as we'll as in instru-
mentation, the latter beautiful and
effective throughout.
Striking Ballet Music
Chorally the second act is superb
and the ballet is particularly striking
because of it's freedom from Niennese
influence despite the fact that it is in
waltz measure. 1t aroused great en-
thusiasm yesterday and a repetition
from the beginning would have been
heartily welcomed. 1t is peasants
dance and forms an agreeable inter-
lude, but the ballet of the water sprites
in the third act is an anti-climaX The
entire act, in fact is a dramatic error,
which was emphasized by the absence
of the exquisite singing of Nine. Sum
delius which did much to win the un-
qualified success attained in the second
act Miss Muzio sang with great fer
vor and beauty, but the alluring charm
of siren was neither in her voice nor
her action in the degree exacted by
the part. Mr.. Gigli sang with delicious
suavitv, grace and beauty, but his dra
matte impersonation was nullity.
In this respect as we'll as in song Mr..
Danise, after Miss Sundelius, was the
most persuasive figure on the stage,
though Mr.. Mardones would have made
him work for his laurels had his part
given him an opportunity. Scenically
nearly everything was effective, espc-
cially the picture of the mikes dsport-
ing themselves in the Rhine. Messrs.
Moranzoni, Setti and Thewman re-
ceived plaudits with the principal sing
first and second acts. Rosina CALI won
large share of the applause with
which the ballet was rewarded For the
sake Of the record the roster of all con-
cerned in the performance is ap-
pendcd:
LORELEY-A romanic opera in three acts
and five scenes Book by Carlo d'Orne-
Wife and A. Zanardini (in Italan) Music
by Alfredo Catalani.
THE CAST
Rudolph. Margrave of Biberich.
Jose Mardones
Anna of Rehberg, his niece. Marie Sundelius
Walter Lord Of Oberwesel... Beniamino Gisli
Loreley an orphan. ......... Claudia Muzio
Baron Hermann. Giuseppe Danise
Fishermen, Woodcuttcrs, Bowmcn knights.
Female Vassals. Mobiles. Monks,
Water Nymphs. etc.
incidental ola noes by Rosina GALL, Giuseppe
Bonhglio and Corps de Ballet
Conductor. Roberto Moranzoni
stage director ...... Samuel Thewnan
n, ~ ~ .sIii" Sel Glulo Setti
Iecnnical director ....... Edward Siedle
otase manager. ......... .Armando Agnini
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