New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1851-04-26

Pu"'Oi'! hAf hulsr ed an opera called SdpDao Tor
Msd Viardot, and is already busted with the re-
hesrsals. The fair artist interests herself ex
rtmely in the work. in whose chief character
she has evidently found a great opportunity for
her greatest powers
IL is very pleasant TO remark tina, the Grand
Opera opens It's doors more and more to young
artists even though it may be somewhat haz-
aroous undertaking to commence upon these
bosrds theatrical career While was in Paris
the rehearisls of RosenkGins opera were in pro-
gress-a work undertaken many years since, and
which has the warmest wishes Of al earnest low
ers OF Art. With what endless care, with what
zeal and conscientiousness, is an opera studied
and reheaued in Paris In our dear Germany
we have scarcely an idea oft.
Aubers Prodigal Son seems to be returning
home from his travels round the world. After the
first paan Of the press had subsidized, it was evil
dent enough that the work had no great imPor-
lance. For new work it is so seldom played
that did not chance to hear is during my stay in
Paris; and nv friends tell me that l need not be
inconsolable on that account. Sorry am that we
see so many worshped oxen in the world, and often
enough We eat flet lie 6oeyf. But .fIet de bOeuf
from the flesh of worshiped OK was reserved for
Auber's opera; for here enlightened Priests con-
sumo the God Apis, served up la FrGHcGise. Il
is pleasant in contrast with this, to remark that
the HugHenotS is very constantly performed.
know not if it be on account of Republican pro-
piiety that the former charming-perhaps too
oharming-bath scene of the second act is now
b,,a NJ kaI; hsllaf
But if the Grand Opera disappoints those who
knew it formerly, the same is unhappily true, and
in a much higher degree, of the Italian Opera.
This seems to have lost its old character alto
gether. In its prime it was the reunion of very
exclusive and fashionable, but highly cultivated
society, and thither every year, Italy sent its
sweetest singers and its moIt gifted composers.
The Feeders, the Psstss, the Malibrans followed
each other in sparkling succession and Sontsg, at
once German and Italian, wOrthily followed them.
Here Rubin, Tamburini and Lablsche sang to-
gether on the same evening. RossiDi's operas
were here played if not in their frst novelty, a.
least in their first freshness, Esnd ROssni himself
inspired the Institution with his animating pres
ence. He did not, however, personally superintend
the production of his Operss-but while they were
playing he wandered about the Corridors and
talked for hours with the box openers that he
might not hear the music But he was there, and
how much greater was the charm Of II BGr5iere
that, between the acts the genial Maestro might
be seen in the saloon
Then came Bellini, who wrote the Purltanl tor
Grisi, in Paris and charmed the musical world with
bis lovely melodies and smiable character That
exclusive Society is scattered and what is much
much more deplorsble, Italy has neither Singer nor
Composer more. How then, can the Italian Opera
which was never national necessity in Paris, but
the lsxury of fashion, sustain itself longer IL
does still show a large aud enthusiastic audience.
1t comes, however, not to the Opera, but TO hear
Sontsg, and this, which is all the more honorable
to her is also stronger evidence Of the truth Of my
remarks.
The Countess R0ssi has overthrown all rules
and has made the past times present. She has
trodden too closely, however, upon the cherished
sentiments Of "good society" for she has shown
that it is yet isirer thing for Countess to be-
come a singer than for & singer to become
Countess. And she has made Conservatism so
charming that the sagest statesmen learn Of her
and the reddest Republicans begin to doubt
After so lorg residence at the European Courts
it is not surprising that abe is 80 completely at
home upon the stsge bat it is the more wonder
ful that she has rem aimed 80 true to Art. Well,
after all, Statesmen like singing as much as Poets.
TIE part in which Madame Sontag has been at
present most successful, is that Of La File du
n, IL. T. 10 81 ali all lfyip0
singers, however much they may love classical
music-ss in the case Of Jenny Lind To repre-
,ent q wild yet vrtuous market girl-a saucy yet
sensitive maiden-a pure child OF Nature yet
virtuoso in music-all in one person and in two
charming costumes, is naturally attractive to
genial genius The Countess RosSi delivers It In
go surprising a style with such youthful grace in
action and such splendor in singing that the critic
bar 10 chance. Yet may l, despite that, and des-
pite my admiration OF Donizet!i's composition in
this Opera, confess that. during the whole repre-
sentstion Of the opera, could not escape feeling
of dissatisfaction and even of sorrow. Il seemed
that n artist like Madame SOntag-a wife, like
the Countess ROssi, came too near her own Wo-
manly. and personal worth in the representation
of Ais part, although l did not for mo.
merit fail to observe how delca.ely and arts
ticslly it was rendered. How much finer would
the artist appear to me in parts like the phigene'
Donna Anna, and Eurys n.he. While the artist
merely smuses he is the servant Of the public
bat when he represents what is loftily beau
tful end true, be teaches the world.
That this distinguished singer has not sung the
part Of Donna Anna during the seaSOn, is be-
cause there is no singer for Don Giovanni him
self They have thereupon written TO Germany
to impor. baritone from that country, and as we
Germans are distinctively cosmopolitan, and al
ways mind other peoples business better than
our own, shall not be surprised it. presently the
whole PERFORMED OF the Italian Opera in Paris IS
German. Thalberg is now writing an Italian
Opera for the next season in London-and Eek
art, our true and German Eckart, IS nov maestro