New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-06-22

perelaceo CRIB ron picture in the Dusseldorf col.
lection and is vacant Of every claim to nature truth
Invention or decency how Il ever got the position
Xmas on the wall. seems a mystery. Perhaps the
hanging comm tee thought its resemblance to the
clever German picture sufficient merit Perhaps
there was another reason
No 60 "The Young Pedlar,7 by JANIS BRows
has some feeling for character, and there are
other things, one by ]. THOMPSON No. 30 THE
Pic nic,' which deserve notice. The artist
wants more observation Of human character and
more ruth to nature in the drawing of his figures
There are also things by CARTER, HEINRICH, MAR.
sI6LIA, and others, which our limits forbid us 70
touch on. Cur next business is withthe Sculpture.
The OPERA-The Havana Opera Company an
nouncs for Monday evening for the first time in the
United States, MEYERBEERs Opera of " The Hu
guenotE" This is the second work in which that
composer met with decided success his earlier
operas, The Two Calls Emma di Resburgo"
&c having failed to gain anything like general ap-
proval 1t was not till Robert the Devil" was
produced-in ls3O-that bis present reputation be.
gan to have an existence. The new and peculiar
rather than original style OF the music together with
the remarkable dramatic and scenic effects which
he knew how to employ secured for this opera an
immediate and permanent run atthe French Acad
envy of Music where twas brought out and where
it is to this day prime favorte; the resident at
Paris this Summer will see it every two or three
weeks announced in the bills Of that establishment
where, five are not mistaken, it has been per-
formed above four hundred times. At the other
principal theaters Of Europe it has been similarly
Fortunate and though the critics still in dispute
concerning its merits, the public generally exhibit
no doubt Is to its attractiveness.
After the great success Of Robert the Devil"
Meysrbeer was in no haste to repeat the expert
ment He was careful not to risk the reputation
he had acquired, and accordingly it was not I'LL
1896 that he brought out 1.-THE Huguenots," also
at the Academy Of Music, or Grand Opera. Every
care which the fastdious taste and unequaled
management Of the composer could suggest was
taken to ensure a triumph for this new work.
Meyerbeer is in bis line even greater master OF
dramatic preliminaries than Barnum in his, and
nothing was now omitted The Huguenots proved
successful. Still the piece has never been so pop
usr as Robert the Devil and the critics have
almost with unanimity assigned it lower place
as q work of art. Though the hbrettO, as in that
OPERA is from the admirable pen OF Scribe, and thus
far superior in dramatic unity and the gradual and
forcibe development Of the story, to the mass OF
operas though it abounds in effective scenes and
striking situations, the composer has failed 10 keep
the interest of the music up with that Of the mar
rative, as well 10 lend il that variety which by
contrast renders every part freshly impressive.
Meyerbeers music is characterized by German
sombeness, sole unity, and constant use Of har-
monte effects on the one hand, combined with
certain brihancy of melody and ornament, which
belongs rather to the Italian School, on the other
OF these two qualities the former seems more
natural TO hin1-mo-e his In Robert the
Devil there are chords which wierdly shudder
through the soul Of the listener like fatal spell
from which il 10 impossible TO escape while over
that Internal harmony fit and fcker-like sunlight
uron a volcano-strAbge, sweet CLEANS OF sound,
sometimes gathering into delicious gushes of
melody, which once enjoyed, cannot be forgotten.
1.-THE Huguenots' being altogether matter Of
this earth could not offer so fruitful theme for
either the master OF scenic or OF musical effect
And yet there is no want Of opportunity for both.
The story is briefly as follows Raoul de Nangis
a youpg Huguenot noblemsn is celebrating, with
ST. Bis Never, and other Catholics, the peace late
ly concluded between the two parties In the
course OF the festivities be recounts his passion for
4 lady, whose name be does not know, but whom
he once rescued from some assailants-ony TO
lose sight Of her aterward Marcel, his servant an
old soldier, and a fanatical Huguenot, enters. He
is called upon to sing and pours forth fierce bat
tie song, which shows that he is no party to the
peace While he is singing, masked lazy
(Valentna) approaches and desires 70 speak priv
ateIy with Nevers Raoul recognizes ber as his lost
beauty but at once conceives suspicious against ner
character She has, however, come merely 70
break of an engagement Of marriage made for her
with Nevers by her father, bat which Queen Mar
garet, who desires to give her to Haoul as means
Of confirming the peace between Cathohcs ana
Proteitants, has caused 70 be dissolved Inc
Queen serbs FOR Rsoul, and in the presence Of the
Court offers him Valentino He, full OF suspicious
from her interview with Movers, refuses her IN
huniiatirg manner St. Bris, her father Nevers'
and the other Catholics take this as mortal insult
A due 10 arranged between Raoul and st. Bris,
but the Catholics po, 70 kill the former Heacher'
ously as he comes to the rendezvous. Valentino,
who in the meantime, has, By her father, been
made to marry Nevers as means ofremoving the
stain Of Raouls refusal. oyerhears the plot egains.
Rsoul, and still loving him, reveals it to Marcel
By this means Il Is made futile. Raoul TOO late
Convinced Of the injustice Of his suipicons, pays
Valentine last visit to see her once more, and
suffer him.ef,o be slain by her father and husband
They approach, and she prevails on him TO hide
himself. He overhetrs the plot Of the massacre Of
ST. Bartholomew. and, when they have departed
hastens forthto aid his brethren in tAat fatal crisis
Valentino detaias him-imPlores him not TO go
at las. ccnfeIses her love for him. He hesi:ates,
but the bell tolls the signal of death and be delays