Grand Opera in English Author(s): Francis E. Barrett Source: The Musical Times, Vol. 54, No. 850 (Dec. 1, 1913), pp. 806-807 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/907728 Accessed: 09-01-2016 10:46 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 128.123.44.23 on Sat, 09 Jan 2016 10:46:06 UTC All use subject to JSTOR Terms and Conditions 806 THE MUSICAL TIMES.-DECEMBER I, 1913. GRAND OPERA IN ENGLISH. chorus (off), the sleeping soldiers are aroused and Mr. RAYMONDR6zE's SEASON. Philip, Dunois, and Joan,in goodamity, make for Rheims. The coronationof Charles is shown in a thistime Once picture, again the flag of grand opera in English is raised a movingone of great and circumstanceand of much in the this timeat Covent where on pomp Metropolis, Garden, quaintness. The next stageillustrates Joan at thezenith of NovemberI Mr. RaymondR6ze opened a shortseason of her powerand influentialto induceCharles not in the vernacular. The of sufficiently grand opera primaryobject to sign the armisticewhich shall relieve Paris. Joan's the undertakingwas the productionof Mr. R6ze's own ' voices' leave her,but fortified the of Dunois she historicalmusic-drama on the by regard ever-attractivesubject of goes on withher work as per historicalrecord. The scene 'Joan ofArc.' Otherworks such as Wagner's'Tannhliuser,' and the active of the close with mutual and with Gounod's part open opera 'Lohengrin,' 'Tristan,' 'Faust,' confidencesbetween Joan and Dunois and theirsetting out Bizet's 'Carmen,' Humperdinck's'Hansel and Gretel,'and for Tableaux show taken her a new are of Compiegne. Joan prisoner, ballet, features the scheme set forthin the trial,her martyrdomat the stake and her finaltranslation, Immediate of one of preliminaryprospectus. recognition and the adorationof her remainsby the people who have theweak spotsin theplan of operain Englishhas been noted ' alreadycanonised her. by Mr. R6ze, and he promisesthat Carmen' shall be given Mr. R6ze's music shows much resourcefulness.That in the new versionof the book providedby Mr. Hermann resourcefulnessis not self-contained. There are Klein and some time A less need is always published ago. urgent many effectivepassages. The choral-writingin particular representedin the promisednew translationinto English by is alwaystelling because of its excellentconstruction. The Mr. Alfred Kalisch of the librettoof Gounod's 'Faust.' instrumental is also admirable,and the score is of This was at all. The versionmade colouring scarcelynecessary by notablehomogeneity. The factthat the compositionof the H. F. Chorleyfor the English productionof the work in workwas extendedover twelve and thatit was heard stands later as one of years 1864 to-daynigh fiftyyears the best in its completedform four years ago accountsfor much of examplesof ' Englishing'ever made froma foreignlibretto. the music not of Good of the But at the time of to being to-day. knowledge going press, when most of the five requirementsof the stage is shown, and the Coronation weeks of the season have passed, no date is fixedfor the scene is carriedout to broad musical effectsthat create a of this new version. 'Tristan' and production Wagner's definiteimpression. There is dramaticimpulse in Queen 'Tannhdiuser'have been seen, and the restof the timehas Isabeau's for and the been taken withMr. own openly expressed contempt Joan, up R6ze's opera. scene betweenthe Maid and Philip is good operaticstuff. Elsewhere Mr. R6ze's matterdoes not always fit the 'JOAN OF ARC.' situation,although he never fails to indicate undoubted powersof eloquence. There is greatspirit in the scene at Originallyheard in a concert-versiongiven at Queen's Hall the Castle of Chinon,and the introductorychoral dance is fouryears ago, Mr. R6ze is announcedas havingspent twelve a notableexample of the composer'sadaptability. Generally yearsin composinghis opera. Like Wagner he is his own the style is somewhatlyrical for the subject,and in the an to librettist, arrangementthat has a greatdeal commend actualappeal of his musicMr. R6ze has ratherhandicapped it, sinceif anyobjections are to be made theyare not likely himselfby his choice of words whichapparently do not to be attendedwith blows. Save forits peacefulpossibilities always lend themselvesto felicitousmusical accentuation. the plan in this case has not been of great serviceto the Two casts wereemployed. The firstcomprised Miss Lilian composer. Two heads are generallypreferable to one, Granfeltas an appealingJoan, Mr. Charles Mott as a especially where a first attemptis concerned,and it is vigorousand impressiveDuke of Burgundy,Mr. Henry probablethat a secondhead wouldhave pointedout sundry Rabke as Charles, Mr. Raoul Torrentas Dunois, and defectsin Mr. R6ze's libretto. He does not follow the Miss Dora Gibsonas Queen Isabeau. The alternativecast Schiller design, but neverthelessadheres well to the included Mlle. Marta Wittkowskaas Joan,Mr. Raymond historicalfacts. The Maid of Orleans is happilyone of Loder as Charles, Mr. Harold Colonna as Dunois, those historicalfigures about which we are uncommonlyMr. HarryReynolds as Philip, and Miss EdytheGoodman well informed. There is actually in existence in the as Isabeau. In point of equipmentthe production is Musie Tour Jeanne d'Arc, at Rouen, a sketch of memorablebecause of the splendour of the costumes, her face made at the time of her trial five hundred its historicalaccuracy, and the generalimpressiveness of yearsago. the setting. The work has been given three and four Mr. R6ze depictsall the principalevents. He does so times a week since the season began and to growing eithervivd vocethrough his characters,or by meansof some appreciation. tableauxvivants. Thus, one way or another,the wholeof the story of her life is given. The battle scenes, the imprisonment,trial, and final burningat the stake are 'TRISTAN AND ISOLDA. shown by means of tableaux. The opera begins at the beginningat Domremy,where we see Joan,not tendingher When the new opera had settleddown, Mr. R6ze gave flockbut her flax,since she is shownwith a spinningwheel Wagner's 'Tristan and Isolda' with a cast that included outsidethe village church. She announcesher convictionsMlle. MartaWittkowska as Isolda and Mr. John Coates as implantedin her by means of the mysteriousvoices; and Tristan. Mlle. Wittkowskahas recentlydeveloped sundry herfather, a clear-speakingif not plain-speakingman, has highnotes in hervoice thatjustify her in attemptingsoprano visionsof his own. Next we are in the Hall of the Castle r6les. Her Isolda had plentyof vigourin its initialstages, at Chinon, where the Dauphin is holdingcourt. Aftera but strainsoon became obviousand the tunefulnessof her preliminaryballet Joan is announced, and makes her singingdeclined. Mr. John Coates gave a very notable appearanceso far forwardwith her mission as to have impersonationof Tristan. It was remarkableas charac- adopted male attire. Afterdue trial of her powers of terization,for its vocal effect,and for its power as an divinationshe is, on thestrength of her powers of perception,exposition of a much abused character. Mlle. Juiliette entrustedwith the commandof the Army. Living pictures Autranacted Brangaenawith muchskill, giving more point show her firstessaying the stormingof Orleans; herentry than usual to the part, but her voice lacks the necessary into the liberated city. Then the characters come to life weight for the music. Mr. Charles Mott showed himself again; this time in the camp of the allied English and as an artist of high promise by his work as Kurwenal, and Burgundians. Here there is a scene between the scoffing the music of King Mark was finely sung by Mr. Manitto Isabeau and Philip, Duke of Burgundy, followed by the Klitgaard. Quite a feature of the representation was the appearance of Joan leading a charge. Her sympathy for a direction of the orchestra by Mr. Hamilton Harty. mortally-wounded English soldier causes her to remain in Although new to the work of operatic conducting he was the camp. She makes the acquaintance of Philip, who able to express a great deal, and to show that with the introduces himself in the free and open-hearted manner of necessary experience he would have no difficultyin attaining the period by means of an axe with which he proposes to kill distinction in this branch of his art. The stage part of the the Maid. She persuades him to the contrary. Dunois, performance was disfigured by some freak lighting during who appeals to her as a lover, is rejected, and after Joan the duet in the Second Act which resulted in the lovers has uttered an Ave Maria with the assistance of a being bathed in bright red moonlight. This content downloaded from 128.123.44.23 on Sat, 09 Jan 2016 10:46:06 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-DECEMBER I, 1913. 807 ' to Carl True the Lord TANNHAUSER.' ; Mayor's and Lady Mayoress's to Dicksee and Edith the In this well-knownwork as his third prizes Phyllis Harrhy; Principal's mounting opera, prize,for promise of a publiccareer, to ReginaldHerbert. Mr. R6ze laid himselfopen to some severe criticisms. It A concertformed of the the revealedweaknesses in his Miss Bettina part proceedings, programme company. Freeman, being contributedby Miss D. Augusta Chilton-Griffin who appeared as Elizabeth, did not rise to any great (pianist),Miss Muriel (violinist),Miss W. the absence of extensivecommand Hay Jamieson, heightsowing to any of Miss Doro hy Waring,and Mr.