The Express.
London, England, 1861-03-15 00:00:00

WAGNER'S NEW OPERA.

PARIS, WIDNISDAT NIGHT.
I write a line at midnight, on coming out of the
Opera, to tell you that Tannhauser has at last been
played. It was not very successful, and when I
say that, I probably understate the disfavour with
which it was received by the public ; but I feel it
necessary. to beware of the very strong party spirit
which exists in musical coteries against this opera.
The words fiasco and four, the English of which is
failure, were flying about the foyer all the evening.
Into the vexed question of the merits of the work
in an artistical point of view I do not now enter,
and whether M. Richard Wagner be a transcendent
genius or not is a problem which will be left un-
touched by the hurried observations which I can
alone offer touching the impression produced by the
first representation of this much heralded specimen
of his talent. Speaking merely as one of the vulgar
public, I must say that the performance struck me
as terribly heavy. The action drags, is " slow"
both in the literal and slang sense of the wont.
There are a number of eccentric and even childish
tricks which provoked the most genuine ironical
laughter I ever beard. Among these pantomine
effects I noticed the bringing on the stage of three
live horses and a pack of hounds a propos de bates,
strange frolics of electric light played upon a lady
in white wandering among avenues of the Black
Forest, with the intent of making her look likes ghost,
and unheard of screeches on the fiddle—very origi-
nal, but not understood. The concerted pieces—
many of which have long been known both in
Paris and London—are beyond all doubt the best
art of the opera. In fact, critics reproach M.
Wagner with being so wrapped up in the idea of
his instrumental genius that he leaves no scope
for the vocalists. It was not till the middle of the
second act that a good chorus, very well sung,
roused the audience from its apathy. The great
tenor of the King of Hanover, M. Niemann,
who has been in Paris six months for the
sole purpose of studying the part of Tannhauser,
had no opportunity of showing off to advantage,
his very pure and fine voice till the third
act. In that he sang a charming solo, which
went far to redeem the opera, and was the only
piece in it that the Emperor, who was present,
vouchsafed to applaud. I ought to add, as a faith-
ful that the Emperor laughed as much
as anybody in the house at the eccentric effects
above alluded to. In the last act the heroine is
brought in dead upon an uncouth-looking hearse,
which incident gave occasion to various yoodlibets
about the death and burial of the opera. Not-
withstanding the presence of the Emperor, there
was a great deal of hissing—a thing quite unusual.
To the customary call at the fall of the curtain
there was a great deal of opposition. The Emperor
goodnaturedly stayed till after the majority of the
audience had left the house, and when the four
principal performers at lengthappeared, his white
kid gloved hand gave the signal for encouraging
them under difficult circumstances.
It is essential to mention as an incident in the
history of Tannhauacr that its performance in Paris
is entirely due to the patronage of the Queen of
Prussia, whose good offices, through the Princess
Metternich, overcame the opposition of all the mag-
nates whom voices are usually listened to when a
new opera is in question.
It was reported in the foyer of the opera that
Cardinal Gourmet has left Paris for Rome with au
ultimatum from the Emperor to the Pope.
The Patric announces that the Prince Napoleon
is not going to Italy. It is quite certain that this
journey was decided upon a few days ago, and I am
told that the Emperor has thought it expedient to
put his veto upon it on account of the fierce re-
ligions opposition manifested in the Corps Legia-
latif.
Possibly he waits for the result of Cardinal
Gousset's mission, which I have above announced.
In the main I have good reason to think that the
Emperor is not giving way to the ultramontaniats.

THE WOMEN OP PISA AND THE YENETIANS.

The Nccione of Florence publishes an address,
signed by upwards of 1,000 women of the lower orders of
Pia, and addressed to King Vi.ttor Emmanuel, in which,
"echoing," as they say, the words of the Countess Monte-
merli, they declare that "at any price they must have
Venetia ;" and that for so noble a cause, "they will send
their brothers, their eons, and their husbands to a final
conflict, in order to drive the despotic oppressors from the
soiL" Among the women who have signed the address
there are the wives of many soldiers decorated by Napoleon
HI. during the campaign of 1859. To this address, Cheva-
lier Nigro', in the King's name, has replied as follows :
" Turin, Feb. 4.

"Madame,—Hie Majesty has received the note and the
address which you have sent him, and is convinced that the
patriotic sentiments which characterised the Italian women
of former days are not unknown to those of the present,
who take so active • part in the grand work of national
independence, the completion of which is the ardent desire
of every good citizen. His Majesty commands me to thank
you for the generous and patriotic sentiments which you
have expressed to him in the name of the female jobs-
Infanta of the town of Pisa. In acquitting myself of this
mission, believe me, kc.,
" The Minister of the King's Household, Ificia."