New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1851-02-14
Max nInretzek,s Benefit.

MIX uurctZck>s DCuCuts
This complimentary occasion was as fair fes'
tival as the warmest friend of the Manager could
have desired The house-iHuminGtO al giorno,
as the Italians have twas early crowded with
an audience more than usually brilliant; and, al
though the performance was prolonged to a very
ate hour, there was no manifestation of impa-
thence.
The entertainment consisted Of Rossini's Sc
miranda, and Concert between the two acts of
the opera. 1t was injudicious, we think, to pre-.
sent so much, for the opera is at best something
long and tedious, and to sit attentive in a warm
house for more than four hours is thing "tolera.
bic and not to be endured"
Semiramide is very long, very good and very
tedious opera. AS drama the action is not suifi.
GENTLY Defined and the music-which, in the
overture, promises more than any other Italian
OPERAS of very uneven merit and drags sadly in
many parts. Yet that overture is the richest,
most various and most musical Of all Rossini's-
1t has all his sparkle and his sweet, seductive an
dante, as in the air of the chorus with which it
opens. This is truly original, and one needs to
hear no other of Rossini's works to feel how much
he is the master of the Italian school 1t is this
characteristic nationality that constitutes the chief
charm of Rossini. The rhythm of his music and
its involuntary suggestion are essentially Italian.
If Captain Parry had heard it in the purleus of
Nova Zembla, he wonld have dreamed of the
South-would needs have smelled orange flowers
and have seen and heard the Tarantella. This is
all the more amusingly apparent in this opera of
Semiramide, in which the musical meaning is no
more Assyrian or Egyptian than it is Patagonian
but il throughout Southern and Italian. 1t is the
same, undoubtedly with Auber's new L entant
prologue, in which the critics discover nothing
Assyran or Egyptian, although the scene is laid
in Memphis, and in the Pharaoh's prime-as how
could they7 For, if they could, the Director Of
the Grand Opera would never have accepted the
work.
The overture of Semiramide contains the pith
of the matter. The opera Celebrates and extends
the themes Of the prelude; but it would have been
a more permanent pleasure to the bearer if the
work had been half as long
"Man wants but little here below,
But wants that litte-strong"
and the effect which the overture promises is
entirely lost by the attenuation of the material.
But the opera was charmingly sung. PARoDI
was never SO well dressed and she sang with
heartiness and faness that won the warmest ap.
plause There is nothing very striking in the
music of her role but her delicious duett with
Arsace, Gicruo amore" which was given with
greater precision and grace than anything in the
opera, but failed of the enthusiasm that always
waits upon tours de force. This suggests to us
one of the most remarkable peculiarities of our
opera audience, the consideration, namely, of con-
tralto power on the voice as matter of applause
PARoDI, with proper and pardonable sagacity, al
WAYS plays upon this weakness, and is sure to re-
trieve any part only tolerably sung, by winding
upwith good round roll in the lower range oil he'
voice This, as we have seen it often during the
Winter, is simply rant. 1t is not, on either side'
q genuine effect or genuine admiration. If we
cannot be more delighted with the constant melo'
dicus motion Of a fine dancer, for example, which
battles us in an atmosphere OF grace, and is the
subtle charm of genius, more than with the
striking plunges and pirouettes, we are only
groundlings and should not affect the air OF Gods
If PARoDI looked and sang so well, we must
also do justice to our impression Of PATTI, by say
ing that she was, as Ars0ce, the most beautiful
and graceful figure we have seen upon the stage
this season-without the restraint and confusion
of feeling so often attendant upon male attire
when worn by woman She moved with the
utmost modesty, certainly, but with captivating
grace that was only surpassed by the classical
proPriety and precision of her poses. To watch
her as she stood upon the stage was pleasure to
the eye kindred to that Of the music to the ear.
We confess that the pleasant part of the evening
to our fancy was PATHS appearance as ATSace.
Nor, Muse, omit the eephantine elegancies OF
the brave Beneventsno awfully shaking ambrosial
curls He should only have worn the pyramid o!
Cheops for crown to have been the kingiest
King of Egypt. Will some friend Of the Muse
explain the significance of the MATHEMATICIAN
Indian with high towering Plumes who appeared
at intervals upon the scene.
The Concert was good. SrRAKoscH was as
nimble fingered and delicate and delightful as
ever LoRINI sang SpiTto Geata with deserved
encore. MIsKA HAUsER answered an encore Of
airs from Lucis with the Carnival Of Venice, and
the "ladies and gentlemen and Maurice stra'
kosch' effectively performed their work for
players.
1t was very long but extremely good and at
the final fall Of the cartsin, Mr. Maretzek was
called forward to receive the especial appreciation
of the audience. He came forward with reluct'
ant modesty as if he knew that the audience were
afraid he would make speech. But his face
spoke for him, and of course it was most grace
fully and handsomely done. The Manager bowed
across the front and retired amid the plaudts, and
the very sincere plaudits, of the most brilliant
house of the Winter.
Tonight, friday Semiramide will be repeated
~ ~ II L
opportunity of testing the sincerity Of the admir-
alton 90 universally expressed for this most adj
mirable artist.