New-York tribune., 1922-01-06

in poem "Nineta" by Wilhelm
Muller. composed by Brahms, who also
wrote the songs which Schubert has
mmortalized as die Sch5ne Millcrin."
It is only an interesting, coincidence
that the Breton song whose melody
Lalo used in paraphrase in the pretty
bridal antiphon at the beginning of
his third act also has to do with a
miller's daughter "La Mcunerc di
pontaro'' in French.
Into the folklore OF submerged cities
which occasionally become visible VIC
cannot 60 though the subject is inter
csting. In the course Of few centu-
ries, no doubt. wc shall have an Va of
our own. for LaCcadio Hearn has laid
the foundation Of an analogous legend
in his novel. "Chita. Story of Last
Island which is based on fact-the
destruction of one of the pleasure re-
sorts in the Gulf of Mexico by hurri-
cane and tidal wave. Us, is tabled
king and its tabled destruction by an
irundation accomplished through an
opening of the dykes by the kings
daughter, are the only elements Of the
legend which NJ. Blau used. To them
he has added a story of his own imag-
'nIng. TO preserve peace with the foe
Of his people. Granton promises the
hand of his daughter, Margaret. to
less marriage for tho general veal. but
at the altar refuses to wed the prince.
having learned from his sister, Rozcnn.
that her lover, supposed to be dead. is
alive and has returned to Us. Karnac
throws down the gage Of battle, and
Mylo. Rozcnn's lover, picks it u,A This
Il the matter of the first act
But Margarod is also in love with
MNlio. and finding that her love is not
returned. she seeks out Karnac after
ne has been defeated in battle and
points out way by which he may at
once avcrgc his defeat and her humil-
gate which protects the city from the
ocean, but needs the help Of more
powerful arm. The horrible deed is
done amid the rcjoicngs Of the people
/ over Mylio'S victory and marriage with
Rozcnn vs. is Submerged and The
King, Mylio. Rozcnn. Margared and the
populace arc driven for safety to the
topmost peak OF the highlands Still
the waters rise. Margarcd. conscience
cNecrations of the people, recalls 2
celestial oracle.
when that 1t snal! receive its prey
Tho Neagcful food viii pass away"
and hurls herself into the watcrs from
cliff. At the command Of st. Cor
entin, who had appeared in vision
to warn the wicked pair. the waters
reccdc. Meanwhile Mvlio has met and
slain karnac The people laud tho
glory OF Divine Omnipotcncc
The Music and Pictures Of the Opera
In the overture, which is that Of the
dgnted potpourii order Of which the
most perfect examples were given us
by Weber, use is made of the principal
mclodic phrases Of the opera. They arc
rot many. for most Of the dramatic
music is of the declamatory arioso
kind. but they arc effectively set, and
in consequence the overture offers more
beauty than any section Of the opera of
equal length. Mr.. Wolff, who conduct
ed the performance, seemed so eager to
have its beauties favorably heard that
he opened the door chat is, he played
the overturc) between the first and sec
ond acts. instead Of at the beginning
of the performance. 1t was Il laudable
exhibition of respect. and its prompting
was like that which in the past led our
German conductors to play the LEO
more No. g. overture after the second
ac: Of "Fidclio"; but we fancy that the
opera would have enlisted greater in
terest than it did if the piece had been
placed where it belongs ard been per-
mltted TO invite attention to the few
high lights in its musical texture.
The slow movement. with material
drawn from Mylio's song on his
entrance III the first act is lovely in
sentiment and exquisite in expression
SO is the excerpt from the duet be-
tween Margared and Rozenn sung by
violoncellos. The allegro is less ap-
pcaling, though its martial strains are
stirring enough. and we found reason
for self gratul alton in the fact that the
fashion OF dissonant fanfares for the
trumpets had not yet come in when
Lalo wrote. Bewitchingly fresh and
winsomc is the wedding music, COM
bincd with the ingratiasing dance of
the prcttily habited lads and lasscs of
the first scene of the last act The
dramatic effort of the catastrophe
music of The final scene might sound
more awcsomc than it does if it were
possible 20 produce the picture Of a
city sinking under "a flood of waters;
that. however, would require the sub
} merson OF the orchestral pit and the
flight Of the audience to the upper
: reaches of the house, or tank stage
: like that of the Hippodrome. We must
needs get along without that and be
content with the pictures ingeniously
designed by Mr. Urban, and effectively
colorcd, AS we think, though their
lighting.
What effect the opera made upon the
public shall not attempt to say
The overture was received with q
genuine outburst Of enthusiasm, the
applause coming from its proper source
the audience Most of the demo
strations bestowed on individual per
formers sounded as if made to order
though a reasonable degree Of approba-
ton was deserved by Mr.. Gigli. Mr.
; Danise, Mn. Rothicr, Miss Ponsellc and
Miss Aida. whose relative merit, VIC
think, is indicated by the order Of thel
mention. Unfortunately none of the
characters has dramatic individuality
= delnonstrable in action and song
? They arc convcntionalized replicas o.
other operate folk or mere marion
ettes and at their best invoke and
provoke memories Of familiar and finer
characters.
Fer the sake OF the record, it being
first performance Of the opera in
Now NOrl Tho caet is anncn0pN.