Evening star., 1926-03-28
Russian Revelations
In Music Drama


A CONSPIRACY of silence seemed
"A to surround the approach OF the
company from the Moscow Art The
ater Musical Stui o. The cNtrava-
gance OF prirtc''S ink delighted the
eve, stimu ed the scuSc OF literary
apprccial'or. but did not clucidate
with precision necdiul to diStin-
cuish the great difference between
this demonstration OF art and that
scarcely less colo sal, but entirely
unintelligible (Sav, to Russian
speaking public, list OF plays pre-
sented previously by the Moscow
artists.
1t is rrGre.Gable that the necessity
persists OF using the term art al
most Unfortunately IN the discus
sion OF he theater 1t is made to
do service ior every kind OF per-
former. from a Charleston demon
stration to the interpretation OF
classic drama. For the present COM
ment the word Art" may be defined
as A Sincere Endeavor To Interpret
Beauty In lntelligible Terms. The
Sincerity is the inspiring force which
NAV easily be restrained or dlssi-
pated by an inadequacy of express
sion.
II has remained for the Moscow
Art Players to go a step in dramatic
elaboration beyond grand opera it
self: going farther even than the
Wagnerian heights of music drama,
in the revelation of truths in the
eternal play OF human emotions with
vivid poetic beauty.
* 4 x
"Carmencita and the Soldier is
selected for tour, no doubt. as the
typical feature of the repertoire. 1t
is intensely tragic and calls for every
phase of theatric proficiency in its
Interpretation. save one.
1t dispenses with that too-often
obstructive influence, the scene
shifter
The one set representing the cigar
cite factory is built on far-reach-
ing scale of perspective, with many
balconies and galleries that provide,
for the purposes of chorus grouping
and even for dramatic action, not
merely one, but series of stages,
each with touch of separate infiu-
ence in completing a marvellous pic
turc. It is this magnificent grasp
Of detail, not merely in scenic ar
rangement, but in costuming. light
ing, group composition. orchestral
accompaniment, singing and acting,
that makes this performance one
which establishes new standard in
music drama and leaves it to be
guessed whether the old school of
opera, with a single star singer 1.-TWO,
at best) as the chief artistic reliance,
has not been superseded.
The familiar Bizet music is utilized,
bat not in the familiar pattern of the
Partisan libretto, which provides
every now and then an aria to re-
lieve the stretches of recitative. The
scenes and the musical expression
are blended, co-ordinated and pre-
sented with a sense of contrast and
proportion which gives the effect of
an uninterrupted journey through
emotional realms where storm and
darkness have their beauties as well
as blossoming gardens along the
way.
X y
The Iibrctto as well as the music
has been rearranged, and much as
the suggestion of departure from our
familiar traditions was at first re-
sented, it must be acknowledged that
the result is an Improvement. This
story of cigarette girl, soldier and
toreador has ringing through it from
beginning to end the deep tonic note
of human sincerity, upon which is
built a splendid harmony Of action,
picture and aOag.