THOUGHTS ABOUT MUSIC

Evening Star, Issue 21744, 12 June 1934, Page 13

THOUGHTS ABOUT MUSIC

[By L.D.A.]

“ Music gives tone to the universe : livings to the mind; flight to the imagination : a charm to sadness: gaiety and life to everything.''—Plato. Exactly thirty-six years ago this week Wagner’s stupendous operatic cycle ‘ Der Ring des Nibelungen ’ more popularly known as ‘ The Ring ’—was given for tho first time in its entirety m .England at Govent Garden Opera House. Fortunately 1 have preserved some Press notices of this epochal event, and I retain very clear recollections thereof, too, which ray notes made at the time help me now vividly to reproduce. I will say at once that this ‘ Ring ’ season had a rather funny side, owing to the somewhat crude attempts made at copying the stage effects of Bayreuth. The production of Wagnerian opera imposes enormous responsibility upon the stage carpenter and machinist. Nowadays these things present little difficulty, of course, with modern developments in mechanism: but a generation ago the only theatrical producer who never failed in this respect was Sir Henry Irving. When other managers wanted any particularly mystic effect they would call upon reputable conjurers to provide the illusions; in his fascinating autobiography ‘ My Magic Life ’ David Dcvant describes how he used to be sought after in this manner by famous actor-man-agers. But I am digressing. . * * * * The prelimiary Press announcement Of this pioneer Wagner season ran as follows: —“ Everything comes to London, and the attempt to bring Bayreuth to Covent Garden will form the most memorable musical event of IS9B. As no festival is being held at the celebrated German town this year arrangements are en train to give three cycles of ‘ The Ring ' at Covent Garden Theatre, beginning on June 6, 14, and 27 respectively. The public interest in these projected London representations has been extraordinary, not to say phenomenal. Originally only two cycles were announced, but such an overwhelming demand for tickets ensued that an extra cycle became imperative, and we understand that all seats for the third representation are likewise disposed of. The conditions under which the gigantic work is to be given will, it is Hoped, bring tho level of performance as nearly as possible to that obtaining in Bayreuth, and the artists already engaged for the season comprise the Cream of European operatic talent.” ♦ * * * Some extracts were then furnished from the prospectus issued by the Covent Garden management, of which the following were the most pertinent:— “ One of the guiding ideas in arranging this scheme was that the work should be performed reverently and completely, without aiiy ‘cuts’ of any kind. In order to achieve this the representations must begin very early to permit of patrons returning home at a reasonable hour and to avoid the necessity of leaving the theatre before the opera ends. The various sections of 1 Tho Ring ’ will therefore begin at the times here stated; ‘ Die Walkure ’ and

‘ Siegfried ’ at 5 p.m., and ‘ Die Gotterdammerung ’ at 4 p.m. ' Das Rheingokl,’ being much shorter than the others, trill, however, commence at 8.30 p.m. This schedule will permit of tlic performances terminating at 11 p.m.. with the additional advantage, in the cases of the longer operas, of one hour and a-half’s interval for dinner at 7.30 p.m. An additional advantage of the break is that it may also be utilised to ventilate the theatre, and the audience will return freth for the last two acts, which will only be divided by a short pause of from 20 to 30min [I !j for the changing of scenery, etc. . . . New scenery is being painted for these productions, and. the Bayreuth. stage machinist is coming over to supervise the extraordinary mechanical effects conceived by Wagner.” * * ♦ * After impressing upon intending patrons the vital necessity of providing “inner refreshment” adequate for sustenance through such an endurance test, also warning late comers that the doors were to be closed directly performances started, the prospectus delivered itself of an ultimatum respecting ladies' headgear. Those were the days of enormous socalled “matinee hats" sometimes reaching a diameter of three or foiir feett—and as the show began in the afternoon comparatively few persons wore evening dress; “There will be no restriction regarding dress, but one rule is to be rigidly enforced: Ladies must remove all head covering, no hat or bonnet of any description will he permitted," The prospectus concluded with a list of artists engaged, among whom were such renowned singers as Mesdames Marie Brema, Schumannlieink, Gadsky. and Nordioa: with lleiTii Van Ropy, Van Dyck, and the famous brothers Jean and Edouard de Reszke, while the conductor was to be Anton Seidl, of Bayreuth. It seems hard to realise that all, or nearly all, these great artists have passed away. * ♦ * * Now, regarding the attendance at these cycles of operas, it must be said at once that what is termed the “ fashionable set ” showed their contempt for etiquette, also their essentia! musical ignorance, by coming in at the conventional theatrical hour of 8.3 U, by which time, of course, the better part of ■ each work was over. But, except for the grand tier of boxes, the house was tilled at. the beginning of every performance, and, financially, at least, the experiment proved a tremendous success, despite the huge expenditure involved. Artistically the triumph was less pronounced, mainly because of the mechanical shortcomings, to which I shall ' allude in a ! moment. ‘ Das Rheingpld ’ opened the proceedings, and tile wonderful * Prelude,’ so suggestive of the surging river, at once showed the orchestra in a favourable light, though the 'strings seemed a little weak. The illusion ot the floating Rhine nympths was well carried out. and the vocalists acquitted themselves admirably, especially when one considered the handicap of, singing such music whilst suspended on wires and being swung about at the tender mercies ol stage carpenters! Nowadays they dp these things more comfortably. * 1 believe.

. The next series were Jess well managed. and before the evening ended it became apparent that Covent Garden bad much .vet to learn, mechanically. Conspicuous among the' delects was the disappointing statue ol the. Giants. At Bavrcutb they made no mistake of this kind ; when Wagner ordered giants he expected, and received, Brohdignagian

monsters that would have befitted Jack and his Beanstalk. But the singing was magnificent, though Van Dyck’s intonation sometimes conveyed the impression of a difference of opinion wth the orchestra regarding the right key ; and the stage attire of some of the ladies, while in strict accord, perhaps, with mythological tradition, was singularly unlovely. But. as a whole, ‘ Rheingold ’ made a good beginning + * * * ‘ Die Walkure,’ given two days later, was iu many respects a still finer performance, albeit the scenic effects again fell short. For instance .the aerial arrival of “ Wotan’s " daughters, which at Bayreuth is done so marvellously, was here marred by the relative immobility of the accompanying clouds; and the mist, that is supposed to come down at the fight between “ Hnnding ” and “ Siegmund.” got so badly congealed that it almost completely obscured the conflict. The orchestra was splendid, however, and. generally speaking, the performance of this section ranked higher than any previously seen in London The nest afternoon witnessed the production of ' Siegfried.' with Jean de Rcszke in the title role; and the great Polish tenor carried off all the honours. In other respects the production left much to be desired. For one thing, it was most disturbing to the imaginative faculty to find the same character in successive operas enacted by a different artist There may he a strain in singing strenuous Wagner roles on successive days, but it is highlv desirable that when ‘ The Ring ’ is given in it? entirety the chief characters should be impersonated by the same artists. Bowever, this was not the 1eo«t of the errors committed, for the management broke its expressed promise nor to make anv ‘'cuts.” therein- arousing the ire of main- devout Wagnerites ■, though personally 1 thought it a hle«eci relief to dispense with much rather tedious “padding.” ‘ Gotterdammening?’ the final part of Wagner’s mammoth conception, was begun at 4 p.m. on the following Saturday, and did not, unfortunately, reach the plane of former productions. To start with, Jean de Reszke could not appear as Siegfried, and his dCuuty proved very unsatisfactory. Madame Nordica, in the part of Brunnhilcle. was hkewi.se disappointing, though some of the lesser roles were capable handled. The orchestra, too. did not fulfil expectations, especially in the magnificent music at the death of Siegfried. But the main shortcomings were found in the stage effects. Instead of _ Siegfried being carried out on his shield, as Wagner directed, we saw the head hero gingerly laid upon what looked like a vegetable stretcher from the adjacent market. Mismanagement also spoiled several other good intentions —e.-g. Gut-rune’s scream at the sight of Siegfried’? dead body was apparently mistaken for the wh-s+le which signals the subsequent change of seenerv. causing much, confusion and muddle, not to mention some plainly heard expletives from tbe wing? Then one of the prophetic' “ ravens ” declined tc. fly off with its message at first, and when eventually induced to do so it insisted upon winging its way upside down.

Nowadays, of course, such procedure in a bird would be set down to mere Imitative “ stunting.” The stage mists—to which Wagner is very partial—were very badly worked. I submit, with all due deference, that a mist which comes c«>wn at about forty miles per hour possesses no mysticism.' It says much for the grandeur of Wagner’s music that, in spite of defects on the stage, wejl calculated to cross the borderline ’twi.xt the; sublime and the ridiculous, the performance of ‘The Ring’ in those far-off davs never wholly lost dignity. But I fear the work is too colossal for mere mortal playgoers. Can we envisage a modern New Zealand audience sitting out an opera from 4 till 11 p.m. ? Incidentally, one wonders when the talkies will give us reasonably condensed versions of Wagner’s mighty operas.