MR MUSGROVE'S OPERA COMPANY.

Evening Star, Issue 11664, 26 September 1901, Page 6

MR MUSGROVE'S OPERA COMPANY.

Richard Wagners romantic opera 'Tannhauser and the Tournament of Song at Wartburg,' produced at Dresden in 1845 and in England in 1876, was the attraction, at the Princess's Theatre last night—such an attraction that the house was crowded in every part, the downstairs parts being inconveniently thronged long before the curtain rose. The subject of the opera is the legend of Tannhauser (pronounced " Tanhoizar"). This legend we get in a German ballad of the sixteenth century. It describes Tannhauser's parting with Lady Venus, with whom he has consorted for a year in the Venusberg. He makes a visit" of penance to Rome and asks for absolution; but Pope Urban, who holds a dry stiff in his hand, declares that, a.s little as the staff can grow green, so little can he have God's mercy. In despair he goes away. On the third day afterwards, however, the staff begins to bud, and the Pope sends out in search of him, but be has gone back to Venus in the mountains. Wagner, who, by the way, is the author of the words a.s well as tile music of the opera, adapts the legend to a story which runs thus:-—The opera, opens when Tannhauser, knight and minstrel, has become weary of the court of Venus, implores the goddess to release him, and after a struggle gains his liberty. Tho scene suddenly changes: Tannhauser finds himself in a valley between the Wartburg and the Horselburg in Thuringia; and, whilst thanking Heaven for his restoration to liberty, other minstrel knights, named Wolfram, Walther, Biteroff, Heinrich, and Reinmar, led by Hermann, landgrave of Thuringia, enter, recogniso him, and persuade him to rejoin them. The second act deals with the tournament of song. The theme of the contest is.,the nature and the praise of love, and the prize is to he the hand of Elisbeth. niece of the Landgrave, beloved by Tannhauser. The minstrel who has loved profanely outrages the asesmbly by his ideas, and the minstrels would destroy him but for the interposition of Elisabeth". A train of 1 pilgrims going to Rome give Tannhauser opportunity of joining, and he goes away, Elisabeth conjuring him to repent his unworthincss. In the third act we find Wolfram, who vainly loves Elisabeth, awaiting with her the return of the pilsrrims. When they come Tannhauser is not amongst them. Elisabeth.thereupon consecrates herself to the Virgin. After she has departed Tannhauser enters, in pitiable on his way back to Venus' Hill. Spurned and accursed, there is nothing left for him but a return to the life he. loathes. Wolfram's appeals to dissuade him are in vain. He invokes the infernal train which is becoming dimly visible, when a chant is heard, followed bv the funeral procession of Elisabeth, and'a second band of pilgrims appears to announce the miracle of the bnddmtr staff, which is sent to declare . the Almightv's pardon to the repentant sinner. This embassv finds Tannhauser iiwt as he dies of grief by the side of Elisabeth's b : er. and the curtain descends as the staff is placed on the con>«e of the penitent. So much for the story. Now a little as to the music of this great work. The overture is the longest we have heard here, consisting of seventeen pages in Novello's edition. It opens with a 3-4 andante maestoso, changing to 9-8, these introducing the principal movement, allegro, common time. The curtan rises and shows a cave m, the Hill of Venus, naiads bathing in the laSke. sirens reclining on the banks, Venus and Tannhauser the central figures. Bacchantes dart about and indulge in what Wagner himself calls a horribly wanton dance. The first of the vocal music is the chorus of sirens, 'Come to these bowers.' The Bacchantes disappear in a mist and drowsiness comes over the groups of lovers. None are properly awake save Venus and Tannhauser, Asked why he is grieving, Tannhauser replies in an andante song beginning 'I dreamt I heard upon the air,' and. being chided by the goddess, he breaks into a livelier strain; 'AH praise be thine.' The duo leads to an effective air for Venus, in which she cries 'Then go, 0 traitor heart.' As she vanishes the scene changes, disclosing Tannhauser in a peaceful vale,' his only human companion a shepherd who sings his dream song, 'Dame Holda, stepped from the mountain] s heart.' As the shepherd is continuing his pipe-playing a. chorus for tenors and. basses is heard, 'To thee, 0 Lord, my steps I bend,' and to this chant as the pilgrims pass by Tannhauser devoutly sings 'O see my heart by guilt oppressed!' A series of alternating recitatives and short choruses by the Landgrave and minstrels prepare the way for an important song by Wolfram, ' When for tho palm in sorig we were contending,' and this is followed by a chorus Return, 0 Henry, thou our brother,' after which Tannhauser sings 'Ah, dost thou smile once more upon me? " this being accompanied by a sestet ' Our lov'd and lost is .ours again,' merging into a full chorus and so ending the first act. A lengthy, prelude is written for the second act, and the rising of the curtain discloses the lw.ll of minstrels. Elisabeth enters joyfully arid sings a striking air. commencing '0 hall of song,' and then comes what in old-fashioned opera would be called a trio between Elisabeth. Tannhauser. and Wol-

fram,/ in which: the ; heavy,;singing : •isj'witlt Elisabeth in the Imes praise the power that wrought it.' Elisabeth and the Landgrave have more recitatives, and then, some pretty instrumentation is heard whilst the scene changes for the purpose* of the tournament. The knights and nobles aing an effective march chorus, 'Hail, bright abode,' and this is followed by a chorus for women's voices, after-which the minstrels enter and arc welcomed by the Landgrave, he singing 'Minstrels assembledhere,' trebles and altos providing a chorus at the end. The nest musical feature is Wolfram's song. 'Gazing around upon this fair assembly,' after which Tannhauser sings 'I, too, drank of that source of pleasure/ this leading to Biterolfs challenge and * dramatic scene introducing Wolfram's appeal, 'Let me here implore thee,' Tannhauser's Teply, ' Tbbu goddess of love.' and a prolonged and very heavy series of concerted effects commencing with the chorus 'Ah, hear the miscreant,' and ending with the' chant of the younger pilgrims ' Thy august and holy shrine' The first vocal item m the third act is Wolfram's opening, 'By yonder shrine,' and the chorus is succeeded by the chant of pilgrims, ' Lord eternal, praise be thine' Elisabeth then sings with solemnity the air '0 Blessed Virgin,' after which Wolfram is heard in the star song, 'I look on thee, O star in Heaven.' Then follow a number of short recitatives between Wolfram and Tannhauser, the latter having unexpectedly returned, inquiring the way to Venus' Hill, and, adjured by Wolfram, the abject wanderer sings one of his principal songs, commencing 'Contrite in spirit,' describing his rejection at Rome and announcing his intention to fall back into his earthly perdition. A vision of Venus in her bower suddenly appears, the goddess sings ' I welcome thee, perfidious man,' and lie rest of the opera, descriptive, of the conflict for Tannhauser between Venus and Wolfram and bringing about a sad but effective climax, is mostly left to the chorus. The opera, brought on the full strength of the subordinate sections of *he company, led on the stage by Mr Pringle as the Landgrave, Herr Berthald as Tannhauser, Mr Mooney as Wolfram. Mr Leuma.no as Walther, Mr King os Biterolf, Mr Sutton as Reinrich, Mr Golhnick sis Reinmar, Madame Slapoffski as Elisabeth, Miss Crichton as Venus, and Miss Boanas as the shepherd, whilst Herr Slapoffski from the floor directed the musical arrangements generally. An adequate criticism of the performance r would be a very heavy and lengthy task. We must content' ourselves with a few observations. Firstly, as to the overture. The management kept their promise to shut the doors whilst this was being played, but practically all.were present in time to hear this wonderful composition. It was played in its entirety, occupying fourteen minutes, and everybody listened attentively to the splendid rendering. For a larger theatre a few more instruments would have been an improvement, especially a second 'cello and two or three more violins; but Herr Slapoffski's party sufficed for the Princess's, and expert judges were highly delighted with the grand effects produced all through, whilst even' amateurs recognised the finale as a marvellous exposition of high-class instrumental work, the accord of the brass being, simply perfect. The audience expressed their thanks in a storm of applause, which the conductor acknowledged by a series of bows. The scone of the cave in the Hill of Venus hardly satisfied the eye. Its chief merit was the admirable perspective, but on the other hand the blue kke looked painty, and the rocky walls had a papery appearance. The explanation may be that the scene was prepared for the electric light, and looked Vrong under, gas light. This is only a guess. ITie nymphs, however, made the better show bv contrast* They were all right. It is a scene*that could be made very warm. Mr Musgiwe's management, knowing thoir business, were content to keep the picture within reasonable bounds, and the dancers did no more than their duty. The opening discourse between Venus and the satiated Tannhauser sufficed to prove that Miss Crichton and Here Berthald wore in good voice, and we gladly admit that in this scene they not only sang wsll but identified themselves with the parts. To be candid, however, those of the audience who are only half educated to the Wagnerian style were not carried away by the music tit this stage. The departure from the common tune form, regarded by the untrained as an objection, was here displayed in its most pronounced aspect. Once or twice Tannhauser seemed to bo approaching a, melody that could bo caught, and then he broke away again into what some regard mere irresponsible singing, a compromise between recitative and air. These ideas, of course, were only in the Philistiau mind. The musicians present were already quit© satisfied, and, as they afterwards explained, it only wants «, further hearing of Wagner to make all agree on the subject.—a. proposition which needs no demonstration. Tho second sceiip. brought, gladness* to the eyes and ears of all. Coleman's beautiful canvas, showing tho Wartburg Valley and castle, is a masterpiece in the way of scenery, and it comforted everybody to hear the melodious and simple strains of the shepherd's pipe as imitated by the oboe. Miss Boanas also sang tho shepherd's song very nicely. We caunot say as much for the singing of the pilgrims' chorus. As a matter of fact the chorus sang this indifferently until they were out of sight, the redeeming feature of this chorus being the far-off effects in the wings, which were capitally managed. It may be added that dramatically the scene was decidedly up to expectations. Mr Mooney avos listened to with great pleasure in Wolfram's music. His voice, of rare quality, suited the part, here and all through, and what he had to sing was understandable by everyone present. Tannhauser's music, too. was by this time growing more, pleasant to the general car, and there was consent nil round a.s to the way Herr Berthald was acquitting himself, the high-set part being to the tenor no difficulty. The hall of song scene was a further help to the audience as a whole, the stage arrangements, showing the double throne (for the Landgrave and Elisabeth), three tiers of seats for tho retinue, and stools opposite for the minstrels and their lyre-bearers, were effective and realistic, and tho expensive dresses of the party as they marched in and made obeisance were beyond expectations. Madame Slapoffski led off with a splendid rendering of Elisabeth's opening song, singing with ease and artistic taste, and tho duo twixt Elisabeth and Tannhauser wax of a most satisfying character, both .principals investing" their vocalisation with warmth and color. Th? well-known march was an undoubted aiaecss m> Jar _as the orchestra were concerned, but we couul have, wished for a little more strength frum the chorus. The women's voices were in trouble here, and depending too much on one or two of the strongest. Mr Mooney brought relief with his fine delivery of Wolfram's competition song in praise of love, and then we had one «f the best of the tenor's deliverances, whilst the challenge scene that closes the act was a capital bit of work on the part of all engaged. A general recall testified to the soundness of the performance and the pleasure of an audience now thoroughly interested. The third act is laid in the valley of Wartburg again, but it is the distressed Elisabeth who is now kneeling before the shrine. Wolfram's much-appreciated singing opened the art, and then, after the Eilgrini's chorus, this time snug woyse than eforc, wo had the prayer song by Eliss- . beth. This was a noteworthy and entirelysuccessful display of finished vocalisation on Madame Slapoffski's part, thanks being also due to the orchestra, with a. special word for the bassoon ; and if the audience could have found a chance by a break in the action they would have offered the soprano a great round of applause. One could feel that such was the desire; but Wagner gives no breaks, hence the audience got no opportunity, and it is left for us to return thanks to the gifted ladv, which we do very cordially. Wolfram's star song also secured the* recognition it deserved, and for the rest of the action and singing and playing credit is due to the company generally. _ The performance was over by eleven o'clock. It was a memorable performance, remarkable for the elaborateness of the stage arrangements, the crnnd work of the orchestra, and the splendid singing nl Madame Slapoffski, Herr Berthald. and Mr Mooney. ' C»nnen' i' to be repeated this evening, •sud 'Lohengrin' will be given for the tfajri time on Wednesday next.