Life — January 7, 1904 — page 20: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

«LIPE « Parsifal. EPEATED predictions to the contrary, there can be no doubt of the deeply reverent spirit with which New York has wel- comed the performance of the sacred music drama of “Parsifal.” ‘The congratulations of the stockholders on the $19,000 of receipts at its first presentation, the serious discussion of nd business suits, or swallow- tails and diamonds, should be the correet garb and the pious arrangements for comfortably getting a square meal, with something to wash it down, between sessions, were high tributes to the holy theme. ‘They were equalled only by Herr Conried’s Christ observance of Widow Wagner's property rights in hee husband's opera, the ecclesiastical braying of notoriety printed gush nd the f the Ignatius Donnellys who use eeking parsons, columns of the daily newspapers to exploit their researches in the Wagnerian eryptogram. One can easily picture the white-winged soul of Wagner hovering over the Metropolitan Opera House and showering benisons on every one concerned —erpecially on Herr Conried. ° e . HROWING aside these minor considerations, s Max Nordau’s claim that Wagner was not all there in his upper story and showed symptoms of degen- cracy, it is interesting to observe how clearly the Lord and Maestro has worked out the crowning opus of his musical and managerial carcer. It seems a pity that he could not have lived to see how this final appeal to Teutonic senti- mentalist should become an Amer cess (without royalties to his widow). It is, of course, not to be b lieved that Richard Wagner could ever have thought that his clever ation of medieval romances of chivalry with the symbols of the Christian religion should be used Ilis use of the combination 4 an advertising basis. an appeal for interest on a some- what higher ground, but it has served its commercial purpose admirably in America. Also the scenic accessories, which, it is stated by his interpreters, he used in a devout spirit, lend them. selves admirably to exciting a feeling of what is described asawe for religious symbols in an audience drawn from New York's frivolous and wonder-seeking populace. Lire does not usually bore its readers with displays of scholarly ‘udition in its discussion of current entertainments, but it seems that “ Parsifal” lends itself to nothing else. Starting, then, with the williamjbryan motive, discovered first in the talkativeness of Gurnemanz, we find it recurring at artistic intervals in the speeches ially in the masterly and frequent use of the wood-wind. Parsifal, the poor fool, is a come-on in the firstact, and the Parsifal motive is likely to be generally whistled by of other characters, and espec gentlemen interested in the green-goods and gold-brick industries, It uplifts one’s soul on a mighty flood of melody, until author, composer, the Labor-Union orchestra, the singers, the audience, en the poor, rich vandals in the boxes seem one grand human soul welded into the tremendous being of Richard Wagner. ° ° . OW follows the motive, which indicates the non-union repulsion of Agndry for Klingsor, the walking delegate of the Sorcerers’ Union, Local No.46. Occasionally expert students will catch the Snore motive in the bass, meant to typify Aundry’s sleepiness during the prolonged arguments by which her poor soul is attacked by Alingsor and the advocates of the Open Shop. It is in this connection that we feel the influence of Wagner's early studies of Schopenhauer, Confucius, the Bi- nomial Theorem and Pole on Whist, with occasional chords aud syncopations hinting at acquaintance with the Socratic method and the Botticelli school of interior decoration for suburban homes. Then by gently crescendo chromaties on the piccolo and yellow mnet this great master of universal knowledge and folklore leads us impressively into the presence of the great Mystery itself— the schnellspielwachtamrheiniges motive. The most scholarly space-writers in the world differ as to the exact significance of this majestic theme. ‘The best authorities agree that at times Richard Wagner indulged in libations of malt liquor, accompanied by cheese with large holes in it. There is a suggestion of this in the tempo of this sublime phonic suite, but the explanation does not seem entirely sufficient. The solution will have to be left to the ladies and gentlemen who are lecturing afternoons on ‘* Parsifal” and explaining the musie with magic-lantern views. With these few explanatory remarks Lire will leave it to each of his readers to enjoy ** Parsifal” in his own way. Volumes could be (and have been) written about this greatest of opuses. With a little self-hypnotism one can find a great many more things in the music than have been mentioned in this scholarly review. In any case, the production at the Metropolitan Opera House demonstrates how the emotions can be stirred by the theatrical and musical re- sources at the command of the m author, composer and They work through the eye and ear with impressive re- sult, almost convincing one that they reach the soul, Metcalfe. manager. LIFE’S CONFIDENTIAL GUIDE TO THE THEATRES. Academy of Music. —* “Way Down Fast.” Barnyard melodrama, with a moral. Belasco.—* Sweet Kitty Bellatrs.* David Belasco’s latest extrava- gance in pay staging. Broadicay — last week of “Babette,” with Fritzl Scheif in the title role. Musical and well sung Empire J. M. Barrie's" Lite Mary.” Garden.—Eteanor Robson in Merely Mary Ann.” Herald Square.— The Giri from Kay's." Musical comedy, Melodious and funny. Hudson —* The Marriage of Kitty,” with clever Marie Tempest as the excellent acting. Light comedy adapted from the French. Very worth while. Knickerbocker.—* Mam’selle Napoleon,” with Anna Held. Gorgeously staged, musical olla podria. Lyceum —*The Admiratle Crichton.” English comedy and satire. Amusing and interesting. Lyric —" Dorothy Vernon of Haddon Hall.” Not impressive staging of Charles Major's novel. Madivon Square.—" A Girl from Dixie." Alleged musical comedy Pretty light weight. ‘Majestic. —" Babes in Toyland.” Musical and picturesque extrava- ganza. New Amsterdam.—* Mother Goose," Expensively mou alluring spectacie. Princess.—" Rates," with Kyrie Bellew in title part. Diverting ex- ploits of an amateur burglar, roy.—Clyde Fitch's Glad of 1. Wavack'’s.—"The County Chairman.” George Ade’s funny and weil- acted burlesque of politic: Weber and Ficlds's—Vaudeville and burlesque. Passabie show at price of admission out of proportion. but not comicbooks.com