THE MUSGROVE OPERA SEASON.

Star (Christchurch), Issue 7201, 12 September 1901, Page 1

THE MUSGROVE OPERA SEASON.

"TANNHAUSER." •■'■ Judging by the canons of art laid down _y Wagner himself; "Tannhauser" is by no means his greatest work, but it is probably one of his most popular music-drama-*. It was in "Tannhauser" that tne composer first clearly— though not fully— enounced the great principles of the music-drama, which he so fully developed in his later works, -pecially in "Der Ring des Nibelungen." Many people consider that Wagner did not possess the gift of . melody. Yet many of hia earlier- works (and even *' Tannhauser ") grove that he was a gifted melodist in the est sense' of. the term. But, in abandoning the- ordinary forms of operatic construction for the use of the leit-motif, he acted from conviction ; and even musicians who differ from his theories are forced to admit that his use of this method, and the management of the resources of the orchestra, are daringly original, varied and ■beautiful, and that his powers in these particular, directions have never been surpassed — even if approached. Last night's performance of "Tannhauser" was a memorable one, the impression created— possibly from the fact that the music is more easily understood— being greater even than in "Lohengr.n." The singing and acting -throughout were of a very high order. Taking the lady principals first, the performance of Madame Slapoffski was a striking one, her singing all through being marked by tunefulness. and effective— yet apparently easy—vocalisation. In both the second and third acts she fully kept up her high reputation, and in the*'*Prayen of 'Elisabeth, in the third act, she fairly excelled, herself. The Venus of Miss Crichton was elso a notable character, the musio in the long and difficult duet in. the opening scene being finely given, and a great amount of passion infused into it. Miss Lilian Boanas sang and acted the part of the young shepherd in a meritorious and painstaking manner. As Hermann, the landgrave of Thuringia, Mr Lempriere Pringle had an arduous par* to fill, and he oame through the ordeal with marked success. His. singing in the first and third acts was Especially commendable, both in the declamatory and cantabile music. His acting was also notably good. The titlerole of the opera was cast for Mr Barron Berthald, who may be said to have given an almost ideal rendering of the character, both histrionically and vocally. In fact, it is open to question whether- he has been equally successful in any other opera during the season. Mr Max Eugene gave a powerful representation of Wolfram von E-chm-back, and contributed largely to the success of several of the most telling scenes, being particularly effective in the finale to the third act. Messrs Gilbert King, L. fl Sutton and E. Gottmick were also acceptable in the small parts of the Minstrel Knights. The choral woit as a whole was^

a great improvement on that of some other operas given' during the season, the march chorus, in the second act, be:ng an intensely enjoyable number. The Pilgrims' choruses were also well sung, as was also that cf the Minstrel Knights, "in the first act. The orchestra left little to be desired. The interpretation of the overture may be justly termed splendid ; in fact, the audience would not allow the opera t-o proceed until the able conductor, Herr Slapoffski, had bowed his acknowledgments. In the March chorus, and in the finale to the third act, the orchestra also distinguished itself, both by the delicacy and also the fulness of tone produced. For to-night "Carmen" is advertised.