The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1844-02-15

Pwitani, the sopera Belisario, by the prollht
Donizetti, was brought out for the first time las
night. This opera, which is about six or sever
years old, has only been performed in London ane
Paris during the last year, to afford Fornasari ar
opportunity of making his debssts in an opera
which enjoyed great celebrity partly through III
own merit, partly through the iustre, which Saliva
dori, for whom it was originally written, had
spread over it. In one respect, it forms respect
able exception from the general rule Of senseles;
libretti There is sense in the plot, but this honor
does not fall upon Cammarano, as it merely is an
adaptation from the celebrated tragedy by the Ger
man Poet Schenck, who has simply followed the
legitimate history of Belisario very well known in
colleges from his Sc Dxte obut.m nisero Belisario.' y
AS everybody is acquainted with his tragic fate,w
shall pass over the plot very quickly, dwelling only
upon what the fancy of the poet chose to add.
| Antonia, Belisario's wife, (Majocchi,) having
been informed that her son was killed by order o.
of the empire, according TO the augury OF the ora
Gle, accuses Belisaro (Valtelinal OF high treason
| in attempting a revolt against the emperor, and
corroborates this statement with forged letters.
Belisario, hardly returned from victorious battle,
| is deprived Of his eyesght by his enemy, who thus
wilfnlly and cruelty interpreted the sentence Of the
emperor, saying, that Beisario should never see
his face again, which is indeed, rather dubious
manner of inficting a sentence OF Punishment.
Besario is followed in his exile by his daughter,
| Irene (Borghese) and Alamiro PerozzD prison.
er OF war, but restored to liberty by him. ana VINO
turns out to be his son, saved from death by his
merciful executoner. Desiring to avenge the cruel
| ty perpetrated upon Belisaro, whom he knows as
his lberator only, but not as his father, Alamiro
calls the Bugares, with whom he was brought up,
against Byzsnz, and defeats the imperial army.
Belsario hearing of this disaster, leads his former
soldiers into the battle, which he gains, but dies
after having restored his to his repentng wife.
AS musical work, Belsario is but very little infe-
rior to Lucia di Lammerm0Or and PElt-ire a. Am0-
ra, by the same composer, although there is much
less depth in the instrumentation, ut this word
can be applied to the modern Italian sch0OD than
in the former two fayorite operas. The accompa-
niments vary but little, and are therefore
notonous than would be deemed consistent
with great work. Its popularity, which un-
aeu 4sseyy wai xs g fa pIH s dErsn @
that of PMritani, which was rapturousy re-
ceved by musicians and "k monde da sa-
lom," but was not quite to the taste OF the "la2a-
airs have been sung. by "comdottieri and Condo
heri," but very seldom had the honor of an
admission into the concert room. This difference
in their respective popularity. can be shortly
defined by saying, that the P,ritami was popular
as work, but in Belsario the airs only. The sue
cess of the former is stable, like substantial fare
the rogue OF the latter dying away, or rather dead
like fllmsy pastry The principal reason OF tins
loosenesso of It's musical structure, as in the trlvl-
atty of the melodies 10 spite of their tickling plea
santness, The profound knowledge Of the advan,,
tages and defects of the voice, (the developing Of
sin but much more injured by the hurdygurdy sys-
TEN OF the present Italian composers) which Doni-
| zeti displayed particularly in this opera, made a
good execution of it possible, even to indifferent
singers There are very few difficult passages IN
the airs, but after the airs in the cadcnSas,
which can be skipped without any injury to
| the spirit OF the composition, by singers who 90
not possess the means of overcoming them.
Notwithstanding this defect of triviaty, Besario
possesses several highly mertofious pieces, the
! celebrated Duet,
'degH occhi, che perdei."
which contains most touching melody, and seve-
raj eminent transitions. Its effect is heightened
through the field, which is opened in it for good
actors to display their operate and histronic
powers. The same can be said of the gem of the
opera, the trio in five flats, of the third act,
an sen ii strinsere alfn 10 posse"
which is one ofthe best, if not the BEST inspiration
finale of the first act and in the introduction of the
second, are very characteristic The air,
"T,ema Bysansio sterminatrice"
is of very applause provoking martiaty, but very
| hackneyed in melody, whose sole merit consists
| in having furnished Mwsard with a pattern, after
which he cut out a pleasing posfovcAc: Tenors
like it very much, and those who have or fancy hav-
ing powerful voice. have promoted it to the Dig
| nifty Of their chcral de bataiae.
as Ok E and ene is
deserves the thanks Of every lover of mu-
sic for not having. taken the part Of An
tOnina, which some prime dome wrongly consider
the more important one in point of brilliancy:
to these tho airs, the first of which, desio della
vendctta,' is entirely colorless, and rests only
upon the shake in the allegro, which forms
striking transition. But then there is an immense
physically vocal power required to give it due eff
feet, which Is truly grand in the petto d. Zero OF the
Schoberlechner and of Lalande, when she could
sing. The rols of Irene concentrates all the touch
ing and expressive passages of the opera, and is
favorite with Maria Branbila, the contra alto OF
the Partisan opera. Mile Borghese must seldom
try to sing "Grissi, but rather "Persani," whose
even, pearl-ike voice resembles very much Boz.
ing, but not for screaming" Great credit is
therefore to be given TO her for her judciOus
selection, and still more for the unsurpassing
style of her singing and acting; II she were to
lose her voice to-day, she could play the comedies
of Mile Mars with undoubted success. Valtena
| never was in better voice, and made the most Of
his splendid part both with reference to the must
cal and Grammatical beauties. He looked rather
too old in the first act, and therefore. could
not show the external effects of the Injuries inflct
ed upon him when in exile. Maiocchi sung the par
Of Antonna with her usual routine, but was lit
tie too tame in her sorta, the effect of which wa
curtailed through the voluntary omission of the
important shake in the transition OF the allegro
She looked very well. Perozz was as good as on,
could possibly have wished; he sung with much
IeclHS anu d ueClueu Improvement III TASTE, III
was particularly happy In the phrase
"Ogn Iagrima del infeice
un rio d sanque Ii eostera"
and sung the Trema with the requisite energy
wisely abstanng from unnecessary forcing AM
fd,sctto ctdriatdnisms.
The orchestra, with Rapetti at the head, had
! much easier task to perform than in the Puritan
and played with their wonted superiority: Th
chOrusses acquitted themselves tolerably well, bu
the tenors would do well not to sing much OF
Of tune. The new scenery is very fine, and wa
, much applauded, principally the last. On III
whole, every thing went of with much kclat, an
5 we have to register the second triumph of tn
Italian Opera. The house was very full, whic
, is matter Of course.
THE LAST GUN.-Dr Potts fired long tom la
r evening through the columns Of the Commerci'
Advertiser, upon the Rev. DIR. Wainwright III
following Is the commencement, and the glst
the whoe:-
| pa Nj