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The Daily record and the Dresden daily : 22.10.1908
- Erscheinungsdatum
- 1908-10-22
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- Jahr1908
- Monat1908-10
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- Monat1908-10
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JH 825. THE DAILY RECORD, THURSDAY, OCTOBER 22, 1908 DRESDEN m EUGrEN 0 N E Gr IN.* By Peter Tschaikotvsky. I. PERFORMANCE AT THE OPERA HOUSE, OCTOBER 20, 1908. The Dresden public has had to wait a good many years for a performance of Tschaikowsky’s opera “Eugen Onegin,” which is 29 years old, and has been produced at most of the grand operas. To a great part of the audience, therefore, Tuesday’s per formance had nothing new to offer, but “better late than never.” A debt of honour has at last been paid to Russia’s greatest composer. Tschaikowsky’s fame in Germany was founded and spread abroad by Arthur Nikisch, who discovered Tschaikowsky’s Symphonies and made them the common property of the civilized world. His two Concertos for piano forte and violin are considered worthy of a place among the classics, and are well-known. As a song writer, Tschaikowsky was a comparative stranger to Germany till a few years ago. It was Elena Ger- hardt who, at the instigation of Professor Nikisch, made us acquainted with the melancholy strains of the Russian composer; and only since then have we had a complete picture of this peculiar man, this artist with a death-stricken soul. From this point of view, of pathos and lamentation, we must regard him, even when he comes before us on the stage. “Eugen Onegin” was adapted for the stage, after Puschkin’s romance of the same name, by Tschai kowsky’s brother Modeste. Almost all that is psycho logical in the romance is lost in the dramatic form. Modeste Tschaikowsky is not a master dramatist, but only a literary man with good taste and an enthusiastic love of music, who endeavours to supply his adored brother with a scenic ground work on which to pour forth his musical feeling. The action of the piece lacks unity and conciseness; the characters are not sharply defined, and their doings are unintelligible. True, the libretto does contain a germ of dramatic will, and dramatic com plications of great force might be made out of Eugen’s, at first disdained and later vainly cherished, love for Tatjana. But the librettist has not strength for this; he experiments helplessly around, and at last condemns the hero and his be loved to an aimless resignation. To what purpose are all the scenic efforts, or the jealousy scene be tween Onegin and Lenski, the betrothed of Tat jana's sister? What end is served by the duel and premature death of Lenski? The librettist brings before us persons who seem necessary to the dra matic evolution, but they disappear before they have fulfilled their task. We are longing for the drama, and when, after long preparatory experiments, it might at last begin, the action breaks off, and the opera comes to an end. Both the brothers Tschai kowsky felt these insufficiencies, and therefore they called their work “lyric scenes.” That title is ex actly appropriate, but is only a way out of a di lemma. But Peter Tschaikowsky has given us an oppor tunity of realizing his lyric nature, which is very touching, particularly when he draws graceful and sad folk-choruses from the abundant springs of his na tional melody. His polyphony is always symphonic; the themes enter one after another in the different parts, and weave themselves together in parti-coloured har mony. We are compensated by pretty scenes for lack of dramatic force. There is dancing in every Act, some times peasant dances, sometimes social; and this gives the composer occasion to show his skill in dance measures. The famous waltz in the II. Act is grandly worked out; less so the Polonaise in the III. Act. But the freshness of inspiration and the lively rhythms that Tschaikowsky has made his own are always enjoyable. Great pains had been taken by all concerned to make the performance a success. Herr Perron, as Onegin, was incomparable; Fraulein v. d. Osten, as Tatjana, looked charming, particularly in the last Act, and sang with touching expression; Herr Burrian, as Lenski, was perfect, both as to his vocal art and finely graded acting. Fraulein v. Chavanne represented the old servant. Well as she sang the part, she seemed to me to fall into the error of displaying merriment where fidelity and motherly sympathy would have been more in place. Fraulein Tervani’s Olga was wanting in original freshness, and her singing needs improvement. Frau Bender-Schafer sang the small * Piano score published by W. Rahter, Leipzig. By appointment to H. 1. tb» German Emperor J. A. Henckcls Zwillingswerk Solingen Trade Mark founded 13th June 1731. Finest knives and steel wares. Dresden-A. Berlin W. 66 Wilsdruffer Strasse 7. Leipziger Strasse 118. Court steel maker to H. M. the Arabian Emperor. Salon de Paris. Clearance Sale of Autumn hats, etc., with 20% reduction, to make room for fresh arrival of new Paris Winter models, this week (18th. to 24th October) only. Portikus Str. 12 part. Me. Meysel-Bircham. The International Pharmacy Reicbs-3potbeke Grande Pharmacie Internati o*n a 1 e THE LEADING PHARMACY FOR FOREIGNERS Dresden, Bismarckplatz 10, part of Larina well, but might have invested the character with more grace and dignity. Herr. Rudiger, on the other hand, was very graceful as Triquet; and Herr Rains, as Prince Gremin,sang and acted the part to the life. The scenery and dresses were beautiful. The audience were pleased from the first, and soon became enthusiastic. At the close the applause continued until Herr v. Schuch, who had led the orchestra triumphantly, appeared with the principal actors before the curtain. Dr. Max Neuhaus. The I. Philharmonic concert took place on Tues day evening with the usual eclat, if without any very marked display of enthusiasm on the part of the audience; it was opened by the Olsen orchestra with a spirited performance of Mqzart’s “Figaro” Overture. The soloists were Frau Preuse-Matzenauer and M. Vianna da Motta. The former sang with some degree of feeling the Sextus Aria from Mozart’s “Titus,” three of the most pathetic of Schubert’s songs, and four by R. Strauss. Her best produc tions were Strauss’ “Morgen” and “Traum durch die Dammerung,” which she sang with deliberation and expression, and with well-sustained mezza voce tone. Those two songs and the “Standchen.” her last number, were warmly applauded, and she was com pelled to give an encore. She had the advantage of Herr Karl Pretzsch’s refined and sympathetic ac companiments. The rich and finely modulated tones of the new Bechstein concert grand gave the ac companist no little aid in his well-executed task, and the instrument proved itself in every way a worthy creation of the famous Bechstein firm. M. Jose Vianna da Motta has all the virtues of the French school of pianists, finished style, a light touch, agreeable tone, clear phrasing, and brilliant execution. He played first, with full understanding and appreciation, Saint-Saens’ fourth (C-minor) Con certo, a masterly work abounding in charming com binations and picturesque details in which he was admirably supported by the orchestra. His other piece was Liszt’s Hungarian Fantasia, also with the orchestra. This was, perhaps, the sensation of the evening. M. da Motta was recalled several times and at last responded with Weber’s “Polonaise.” The hall was crowded, as usual. Madame Sarah Bernhardt made her second ap pearance at the Central Theatre on Tuesday even ing, in the celebrated drama of Alexandre Dumas fils, “La Dame aux Camelias.” A numerous and distinguished audience, including T. R. H. Prince and Princess Johann Georg, had assembled to witness the piece, and in view of the circumstance that a new opera was being produced at the Opera House the same evening, the attendance at the Theatre was remarkably good. Again the maturity of Madame Bernhardt’s art was displayed to excellent advantage; and she was extremely fortunate in having the assistance of such a talented actor as M. Jean Angelo, who, in the role of Armand Duval, proved himself to be a tragedian of the very highest order. With the exception of Madame Bernhardt and M. Jean Angelo, the histrionic talent of the company left much to be desired; though this discrepancy, of course, may in no small measure» be attributed to the play itself, which provides scope only for those assuming the two chief roles. At the close of the performance the great actress was the recipient of a remarkable ovation, at which she was obviously gratified. Rarely have such salvoes of cheering resounded in this theatre as on Tuesday evening, and Madame Bernhardt was compelled to come before the foot lights again and again to acknowledge the enthusiastic plaudits of the audience. Much satisfaction has been caused by the an nouncement that the eminent actress is to make another appearance at the Central on Monday evening next, when she will appear in Victorien Sardou’s “La Sorciere.” The guards in the city today are furnished by the 2nd Jager Battalion No. 13. The band plays in the Neustadt about 12.30 p. m. MUSIC AND ART NOTICE. At the Central Theatre the grand October variety programme is performed every evening, beginning at 8 o’clock. Bernhard Morbitz will again produce his dialogue “Amme,” which has been allow T ed by the censor. DRESDEN CURRENT ENTERTAINMENTS. Royal Opera House. Tonight, beginning at 7.30, ending 10 Tiefland. Musical drama in one prologue and two acts after A. Guimera. Music by Eugen d’Albert. Cast: Sebastiano, a rich landowner . . . Tommaso, the oldest inhabitant . Moruccio, a miller’s man Marta Pepa Antonio Rosalia Nuri Pedro, a shepherd Nando, a shepherd servant’s to Se bastiano Herr Perron. Herr Puttlitz. Herr Biissel. Frau Krull. Fraul. Eibenschiitz. Frau Bender-Schafei Fraul. v. Chavanne. Fraul. Keldorfer. Herr Sembach. Herr Loschcke. A priest Herr Holder. A peasant Herr Piehler. PLOT. Sebastiano, a supposedly wealthy landowner, finds necessary to wed a rich girl in order to free himself from finai cial embarrassments. The girl’s father insists upon the suppressic of certain rumours regarding Sebastiano’s relations with Mart who is in his service. With this end in view Sebastiano induci Pedro, a mountain shepherd, to come down to the Tiefland, tl Lowlands, and marry Marta. In the first act the marriage tak< place. During the night Pedro sees a light in his wife’s rooc but she persuades him that he is dreaming. The second act fin< Pedro, upon awakening, convinced that he saw the light. Marta hatred of him turns to love when she is satisfied that he hi married her for her own sake and not for money. She opei her heart to Tommaso, an octogenarian, who counsels her to te her story to Pedro. Everybody has been deriding her husban and upon her telling him that she has belonged to another an accusing him of having sold himself, he stabs her in the am She appeals to him to kill her, but he fondly embraces her an persuades her to return with him to the mountains. Sebastian appears and asks Marta to dance for him. This Pedro forbid whereupon Sebastiano strikes him, and Pedro is prevented froi retaliating by being forcibly removed. Sebastiano then attemp to make love to Marta, but Pedro returns,—having learned i the interval that Sebastiano was in his wife’s room on the bridi night,—and strangles him. Composer: E. d’Albert, born 1864. Friday night Saturday night. Sunday night . Monday night . Tonight . . . Friday night Saturday night Sunday night . Monday night . Series B at 7 Tonight . . . Friday night Saturday night. Central Theatre Victoria Salon . . . . Oberon 7.30 . . . Eugen Onegin 7.30 . . . Die Folkunger 7.30 Royal Theatre Neustadt. . . . Die Liebe wacht . . . . . . at 7.30 . . . Jahrmarkt in Pulsnitz . . 7.30 . . . Le robe rouge 7.30 . . . Die Liebe waeht . . . . 7.30 . . . Brand 7 Residenz Theatre. 7.30 . . . Das Modell 7.30 . . . Der Prinzpapa 7.30 Variety Performance. Variety Performance*. at 8 i5i Bassenge&Co Dresden, Prager Strasse 12. Payments on ail Letters of Credit, Exchange of Cireular-Notes. Cheques and foreign money at most favourable rates. Postal Orders. English and American newspapers. Office hours 9—1, 3—6, Saturdays 9—3.
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