New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1851-06-20
THE OPERA.
Narino Faliero-Italian Music-Musical Criti-
ciSul.

6rst-rate works He exhausted his Venetian vein IN
Lucrezia Borglo. which has distinct and Individual
lied airs. and is beautiful Opera. In Marine there
is sometimes too strong Renaissance of Lacrczia
and there is little music in 1t which strikes the ear or
impresses the memory The story of the opera is
very simple Marine Taiero the Doge. MARIND IS
an old man and husband of Elena lTRUFFD Fer
aaudo the Doge's nephew, (LoRlND Is the victim OF
a passion for Elena which she returns. Steao, NO
bic Of Venice, lBIoNDu is the rival of the Doge IN
the State and has been the public accuser Of The
faithfulness of Eieao. Isroe lBENEyENTANol Is a
kind Of Venetian Masanielo, the leader Of the dis
contented popuace and The chief OF conspiracy
against the Patrcans The action Of the opera com
mcnces after the insult TO the DOge's honor SteR0
exasperates the workmcn 10y his aristocraiic inSO-
leuce and they consp,re. Israel. who understands
the old Doge. persuades HIM to become an accom-
phce Meanwhile Elfpa has taken passionate leave
of FtYaando who about quitting Venice, and gives
HIM scarf as a token OF love and remembrance
But the Doqe coming in and entirely unsuSpclous.
invites him to remain In Venice. There Is "A mid
night meeting of the con,pirators and Fernando Is
attacked and slam by Nfeao in the noighborhOod. In
dying he gives UP the scarf 10 the Doge, who is over
whemcd by ms death The plot Is discovered, the
consprators are betrayed and are condemned TO
death by the Council Of Ten The Doge is left alone
with his wife before his execution and stung by re-
morse, she coniosses her nfdelity. The Doge des-
pairs and curses, then repents and besses. and the
curtain falls upon ms exit for execution.
The music to which the composer has adapted tins
hbretto IS of the same general character easily
cognized in his works. But it has few songs or con-
certod pieces, the themes of which are not much
more adequately treated IN his other operas. The
duet at the end Of the eighth Of the first act
IN the genuine mclo-dramatic Italian manner II Is
bold and heroic, but as we have the same thing on
every similar occasion all other Italian operas,
produces no permanent or individual impression, and
is by no means 20 be compared with the duet m the
Ptritani. which has an original and inspiring theme
Tho -nrn, a. true s-~sso orves'f0
.,.e b. ,e Dos The close OF the second act, and
Ecna's prayer, Do clep,eute IN the last act, IS
as utterly pointless in melody and inappropriate
IN sentiment as any prayer recall IN the
whole range Of Italian opera. Bo!lini Is here
again infinitely the master of Donzctu, for,
IN caste Dira, there Is a pathetic feeling OF
supphcation. The only exquisite and pure strain OF
music in the opera is The Gondolers song ar che M
c,eo which introduces the overture and is so unique
ia characteristic beauty and so separate from the
rest Of the opera, that 1t at approves itself
genuine Venetian melody Ofthe general nadcqua-
CIV of the music 10 the subject It's want OF vOluptuOUs
Splondor ItsnoSy blare place of startling passion.
and the total absence of the delicate and romantic sha
ding which eminCntly belongs to the character ofthe
D0geS Wlie-it Is useless to speak An Italian
friend. however, assured us as we LEFT the Garden
that there had been never a composer beiofc-that
Donlzett was subllme-that tins was the music OF
art and not of science-that 1t went directly 10 the
heart and was neXpreSsiby tender and touching
Those who devoted 10 the Italian school and
willing 10 tolerate the monotony OF ITS tragic music
VIII admire NorDi0 Faiier0 as they 10 everything
which has the manncrSm of that style So FAR is
this taste now depravod using the word, OF course,
agtiSucally) that the hackrod phrase Of most facilc
performance and OF entire want Of musical meaning
OF sentiment Of any kind which invariably concludes
a Scena. not only carries the house when 70 Is ex-
uayagantly displayed but its absence Is deplOred rs
d defect 1t Is, however, perfectly clear all The
time, that # music Is an ant of equal divinity and
claims with other arts, which viii be hardly disputed
tins endless iteration of musical feebleness upon all
occasions, appropriate OF not Is not worthy great
praise. We find IN a recent London cnticsmupO
Cruvelh'S performance IN Beethoyen's Ftdeio. a pas
sage 80 pointed and Just that cannot refrain from
giving our own views value, by H. insertion.
"enceiorth the idea Of reducing dramatic music to
the Insignificant dimensions OF q car0tl6 with rou-
ladies' bufomlr without roulades and a'quantity Of
unmeanlng reHphsSoge which may be listened TO or
unheard with the same indifference Is put out Of the
pale OF likelihood Italian Composers must now
learn 10 write music and good music or throw aside
their pens"
This rngs'Nery ike the truth Il Is since Don Gu
roauu Was written that the technical Italian Opera
,+-t, tla
and fascinating freshness OF Rossini, who IS incom-
parably the best Of the Southern composers through
the scntmen,ali>m OF Bellini. and the dramatic fee
bleness Of Donizeti, until in the melo-dramatic e1-
trayagance OF Verdi It seems to shudder In its final
spa>m. We are not denying certain character 10
The Italian Opera But is scope Is very limited
and It's resources were developed and well nigh
exhausted by ont Composer The popular rage for
tins music has been entirely the result Of a super
fcal feeling. which accepted a single genuine strain
for the whole scope o: musical expression account
ing tear. however produced the sincerest proof Of
the greatest triumph. The advocates OF tins school
found Don Gi0rGnn scientific and immoral. and pro-
nounced Jenny Lind pleasing ballad singer. This
the irresistible result Of their prepoSsesson pam
pered INTO a prejudice, and indicates a feeling
beyond argument For cur own part We have re
joiced IN Jenny Ind's career IN this country. as the
announcement OF "a new E,angcl IN Music, Is our IN
PRODUCTION 10 d style lot only incredibly superior in
scope OF musical thought and composition, but OF yo-
cal treatment. IN this opinion differ widely with
many lovers and connoisours Of Music but be the
fact as il may. the result VIII be IN part, We trust, to
improve the character of musical criticism among Us,
which, with very few exceptions, eyinces the same
discriminating ability which distinguishes the usual
theatrical notices II morning papers. In no country
pTofuse praise more easily won and more lavlshy
bestowed than in tins Unhappily praise Is BY no
means an evidence Of excellence among Us, but IA
ther Of personal feeling
Ao Ie,urn 10 cur text we we're agreably surprised
~ NshiNis persouaiion q the Doge. We mus;
cong .lmeni hun upon she ducal ROOFS ana bonnet
ML-.- we AluLi - l-.la 49, anl.