He not obliged to sing now, only twice every year;
but if he not sing twice each year they take him his pension
away.”
Very well, we went. When the renowned old tenor appeared,
I got a nudge and an excited whisper:
“Now you see him!”
But the “celebrate” was an astonishing disappointment to me.
If he had been behind a screen I should have supposed
they were performing a surgical operation on him.
I looked at my friend–to my great surprise he seemed
intoxicated with pleasure, his eyes were dancing
with eager delight. When the curtain at last fell,
he burst into the stormiest applause, and kept it up–as
did the whole house–until the afflictive tenor had
come three times before the curtain to make his bow.
While the glowing enthusiast was swabbing the perspiration
from his face, I said:
“I don’t mean the least harm, but really, now, do you
think he can sing?”
“Him? NO! GOTT IM HIMMEL, ABER, how he has been able to
sing twenty-five years ago?” [Then pensively.] “ACH, no,
NOW he not sing any more, he only cry. When he think
he sing, now, he not sing at all, no, he only make
like a cat which is unwell.”
Where and how did we get the idea that the Germans
are a stolid, phlegmatic race? In truth, they are
widely removed from that. They are warm-hearted,
emotional, impulsive, enthusiastic, their tears come
at the mildest touch, and it is not hard to move them
to laughter. They are the very children of impulse.
We are cold and self-contained, compared to the Germans.
They hug and kiss and cry and shout and dance and sing;
and where we use one loving, petting expressions they pour
out a score. Their language is full of endearing diminutives;
nothing that they love escapes the application of a petting
diminutive–neither the house, nor the dog, nor the horse,
nor the grandmother, nor any other creature, animate or
inanimate.
In the theaters at Hanover, Hamburg, and Mannheim,
they had a wise custom. The moment the curtain went up,
the light in the body of the house went down.
The audience sat in the cool gloom of a deep twilight,
which greatly enhanced the glowing splendors of the stage.
It saved gas, too, and people were not sweated to death.
When I saw “King Lear” played, nobody was allowed to see
a scene shifted; if there was nothing to be done but slide
a forest out of the way and expose a temple beyond, one did
not see that forest split itself in the middle and go
shrieking away, with the accompanying disenchanting spectacle
of the hands and heels of the impelling impulse–no,
the curtain was always dropped for an instant–one heard
not the least movement behind it–but when it went up,
the next instant, the forest was gone. Even when the
stage was being entirely reset, one heard no noise.
During the whole time that “King Lear” was playing
the curtain was never down two minutes at any one time.
The orchestra played until the curtain was ready to go up
for the first time, then they departed for the evening.
Where the stage waits never each two minutes there is no
occasion for music. I had never seen this two-minute
business between acts but once before, and that was when
the “Shaughraun” was played at Wallack’s.
I was at a concert in Munich one night, the people
were streaming in, the clock-hand pointed to seven,
the music struck up, and instantly all movement in
the body of the house ceased–nobody was standing,
or walking up the aisles, or fumbling with a seat,
the stream of incomers had suddenly dried up at its source.
I listened undisturbed to a piece of music that was fifteen
minutes long–always expecting some tardy ticket-holders
to come crowding past my knees, and being continuously and
pleasantly disappointed–but when the last note was struck,
here came the stream again. You see, they had made
those late comers wait in the comfortable waiting-parlor
from the time the music had begin until it was ended.
It was the first time I had ever seen this sort of