Chapters of Opera - Being historical and critical observations and records concerning the lyric drama in New York from its earliest days down to the present time by Henry Edward Krehbiel
page 153 of 463 (33%)
page 153 of 463 (33%)
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recall as vivid and vital a performance as that under discussion one had
to go back to the days of Mme. Johannsen and her associates, who gave German opera in 1856. In Dr. Damrosch's performance Marianne Brandt effected her entrance on the American stage, and the memory of her impersonation of the heroine is still one of the liveliest and most fragrant memories of those memorable days. The dramatic framework of "Fidelio" is weak, its construction faulty. Only one ethical idea is presented in it with real vividness, but it is an idea which is peculiarly dear to the German heart--the saving power of woman's love. "Fidelio" is a tale of wifely devotion, and Beethoven bent all his energies to a glorification of his heroine's love and fidelity. To represent the character faithfully has been the highest ambition of German singers for a century. In that time not many more than a dozen have achieved high distinction in it; and Marianne Brandt is among the number. On its musical side her performance was thrillingly effective, but on its histrionic it rose to grandeur. Every word of her few speeches, every note of her songs, every look of her eyes and expression of her face was an exposition of that world of tenderness which filled the heart of Leonore. Nine-tenths of the action which falls to the part of Leonore is by-play, and by-play of the kind which is made particularly difficult by the time consumed by the music, which is not wisely adjusted with reference to the promotion of the action. Yet all these waits while Leonore is in view were filled by Fräulein Brandt with little actions which tended to develop the character so sadly left in the background by the playwright, but so lovingly treated by the composer. It was down to its smallest detail a picture of a woman impelled by one idea, in which her whole soul had been resolved, and which had grown out of a lofty conception of love and duty. There was nothing of the petty theatrical in Fräulein Brandt, and it was only an evidence of the sincerity of her devotion to the art work which made her |
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