Paderewski has levied inspirational tribute upon the folk-songs and the dances of his own people as well as upon the strange music of the nomadic tribes of Hungary where the scene of the story is laid, and has made effect ive artistic use of this virile material. He has chosen a story well suited for musical expression. The music is essentially modern in that it is continually painting the inner life of the characters. Especially powerful is the portrayal of the conflict that rages in Manru's soul. Pas sages which show unusual power are the peasant ballet in the first act with the recurring phrase, " When the Moon is full the Gypsy runs wild; " Ulana's tender lullaby over her child in the second act and the impassioned love duet which concludes it; the elaborate orchestral prelude to the third act; Manru's dream; the strange Romany music and Asa's song of temptation.
"Manru" was performed in Cracow, Semberg, Zurich and Cologne after its original production in Dresden. Alexander von Bandrowski sang the principal role many times and was engaged to sing at the Metropolitan Opera House, New York, in 1902. The remainder of the cast included Mme. Sembrich, Mme. Homer, Fritzi Scheff, Milhlmann, Blass and Bispham.
In spite of its brilliant introduction, "Manru" seems to have had its day. Its stanchest admirers acknowledge that the story is rather badly told. Many of the criti cisms arise from the fact that the public does not seem to understand that it is a story of an emotional, passionate people, whose very mode of life is conducive to lawless ness and inconstancy. National airs and warlike music
have been known to inspire patriots and to lead them forth to face dangers even when their cause has not been just— then why should we marvel that the wild free music of the Gipsy fiddler, recalling all the joy and freedom of Manru's old life, should prove too strong for a nature like his? More portent than the words is the music, which tells of the conflict between Christian and Pagan, between law and lawlessness. It depicts a soul struggle, and in the prelude to the last act the orchestra delineates this war ring of passions by a seeming discussion between Polish and Gipsy voices, and as the curtain rises we find this war symbolized in the panorama of sky, where clouds and moon are struggling for mastery.
Mr. Krehbiel, in his "Chapters of Opera," says: "More than the story, more than the picturesque costumes and stage furniture, there is a fascination about the music which grew with each hearing. `Manru' is an opera not to be disposed of with a hurried ultimatum on either book or music. From several points of view it not only invites, it clamors for discussion. The book is awkwardly con structed, and its language is at times amazingly silly; yet the fundamental idea is kept before the mind persistently and alluringly by devices of the composer."