New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1853-02-03

FraDcs Drsse expressed by Instrumental nna vocal
early ~ 1917 whcn i, was recently known in Itaiy
There things were tbs humble bcgialnSs Of Opera In
our mother tongue Sir William DAvsrsn. led in
I6SSs snG bis widow. Lady DAyenaas and bis 500
Charles afterwards the celebrated poacAi writer ssd
civilian continued the theGter Tasy aponci nes
house in 1911 br; tie public Avor for Oh Drery,
80 Mr. DAvensnt fesorted 20 new kind Of en,ertsia
ruert called DrSIaanc Opera. raeluiias FAs rszre~
Ns.yssk Psuclk Cfres sld some Others, set Of says
Co'ey Cibher with the most expensive decorations Of
scenes and hshs sni with the best voices saaeers
"This sensus surpiy OF sight and sound says cleeer
coming on 10 the assistance cf the weaker party. u
was no wonder they should grow too hsid Tor sense ana
simple nature when |; Is ecrsderd how many raore
people there who csn see snd hear, than can ns
aud Judge
The Psyche mentioned above l. copied strictly alter
one written by Iulh in l612 TIE music OF Psyche vS
not publShcit I'll 1915 il wss by Matthew Locke. cora
poeer in ordinary 90 HIS Msesfy and organsf q the
Queen This celebrated English composer who set tho
vigorous music IN Macbeth. hss long preface. lie
speaks OF the tendency OF musicians 10 peek and arp
az other mems compositions bow mean sOever msy he
their own He anticipates the objection TO The word
CfTs, when ne Gays, y borrowed from the ItSi aus.
who BY distinguished this kind oil drama from tAcr
comedies which, after plan Is laid are an ,hcn er~,
pore; whereas this is NOT only designed bu, written
with art and industry, snd stsrward set 10 sui,hs
music. According 10 the operate idea the hlustrons
English Composer goes on TO say that the compositions
which follow are for the mos, in their soN snd
essy and far a. hls abilities could reach agreeable
10 the dsgn OF the part for IN them there Is ballad to
single air. counterpont lgue, canon. chromstic MUSIC
which variety without vanity, be IL saii never IN
Court Theatre, I'LL now presented in this nation.
Locke adds; The author OF the drama prsdenty Coz
saerng that though Italy was and is the great academy
OF the world for music and this species Of entertn.
merit; yet this piece WIS to be performed in Eng
lend which is entitled TO such praise he mixed S
with INTERROGATION as more proper 70 our genins"
Locke therefore, had not the boliness 10 attempt
grand opers, or opera rejecting ell speaking This
notice OF the earlier attempts ~ mus, IN the English
IL. A.
long her own opera or theater encouraged By
roy atty and fashion, failed not 10 produce apurce aud
Locke but since the native drama has fallen and tho
Italian opera has risen, no Engkhman has commended
with Italian ge,ins. Alesson Tor home consumption Ia
our Development OF ait might DO learned fron ths
fact
The thester here as productive literary Institution
giving ts supplies OF tragedies comedies aud fsrccs
the English stage used to may be considered dead
Us novelty with hardly al exception, comes from PARA
The only hope for the dramatic future lies in the En- s
or rather American opera mart however as nation.
we need nationality. am slways told tina, we are ~
new. We are not so new. Two hundred years ago
tle Dutch-the most industrial people in Europe, and
among the foremost promoters OF civilization though
NJ Guzot ignores them in his History of Civilizations
settled New. York. This city now IL twice OF three
times as large aud indefinitely richer than any Italian
city was when Haydn and Mozart went there to per.
feet their ant Il has ample wealth to support art prop
erly hut il wants one single thing, without which no
nation can become arsticaly great and that Is national
make difference between artists who come 20 stay AMI
those who come 70 20. BY that means Colbert placed
France in the arts of msteria spenors at tue head u
all other nations ard made Paris the cynosureo taste.
We Gllow our chief city to be used exchange tor
every adventurer under Heaven On this shall have
something say at the next Lecture tell Americans
II they do not support their own art they VIII not aud
foreigners supporting 1t for them We are cslled GA
TO subscribe TO everything and get nothing Ia return
Let any American 30 to Europe with an artistic pro
ject, and he will be spit upon. SO, too, we are
V.RfnR hsSw
free floods and tsmines. When did Europe ever sub
scribe a cent 10 this country When New Yort
lost twenty millions when Albany Philadelphia
by cenfagrations had their sorrows, the planters
on the Mississippi Lost thousands by frcshct there
the rst word lei alone cent vt sympathy from EurOpes
TO revert to the history OF English Opera All CT
forts at the OPEN during the with century wore In
English Let imagine for moment that the sams
genu. which Locke showed al the start bad been gen
erousy sustained by the public, would England now be
behind hand in operate music
In 1922 an advertisement In The London Ga,et,s says
"the Italian lscy Chat has lately come over that 10
famous for her singing though has been reported that
she will sing no more in the Consort at York Bldngs
yet this II to give notice, that next Tuesday January To-
he will sing there and continqo during the season."
In a subsequent advertisement she Is called the Italian
woman In 1893 Signor T0si advertised A Consort Ut
music in Charlcsst, Convent Garden, about O'Clock
the evening These are the fret spparitons OF Italian
artist ia England. Incredible IA II may appear only
IN 1705 the real Italian opera hrst made known
England Little than aceDury later first iawned
IN NeWlOfk. hnM newtnng arc we then Treating OH
Opera began in Italy only two hundred years are
and already in detail II not In gross In San Francisco
The fret Opera after the Italian model played In
England was Arsinoc, Queen Of Cyprus At that time
end indeed up TO the time OF Scribe In this century
all serious operas with hardly exception ere based
ON antique subjects Under his generous pen, such
themes William Tel, Robert La Dabe, aud others
OF medieval times, came in vogue. This Queen Of
Cyprus regularly translated and had fair
though bad IA to music and poetry But the public need
cd eometling
An important event happened ia England In IyO3.
Handel after having made the tour Of Italy arrived there
lie wrote the Opera Of Rlnaido the subject from Tasso
Addison particularly distinguished himself by his attack
the Opera, through The Spectator But Addison be.
ing neither musician nor poet may be pardoned. Han
del became opera manager; but English Earl
managed rival house and crashed the great composer
The frst OrGtorio OF Handers Esther, Which We,
opera uau-Inogrifed. Hsndels style like that Ut
Emanuel Bach, Haydn and Mozart, was formed on tho
Italian model he wrote up TO the time he began Orato
nos 10 Italian words, and shaped his music necessarily
not only according TO the genius OF the Italian language
but equally according ~ the genius Of Italian music
His OrstoriOs bear the same italian impress changed not
for the better by the necessity Of being set 10 Engish
rd. not always the best.
The Ital al Opera has gone gradually 10 this centu-
" in London supported BY the enormous ums paid for
boxes by the mobility and gentry. Five ten dol
lars 70 the common prlee OF sdmi sion. Here
pect the same entertainment for haf6dOlsr Hut with
oil the money paid into the treasury the rspscity OF
ests Is un0Ounded that frequent ban xruptcies at
teldthe dictatorship ] was present in London during
the memorable season when the Covent Garden opposi
ton in operation, backed by the heir Of q hch
brewer who bad 100000 sterling TO lose by turning
pera Inan1 ger and Lost IT, Nothing could exceed tho
perfection Of the orchestra, and saving the want ID
more robust Tenor than Mario clam be- the op-
OF the evening paced OF superbly have belief
iu the permanently Of Italian Opera IN this country
look at The Of Cinderella when brought out
good old Ineligible Englsh at the ark Thea,er-a
success which ran up 10 seventy i.h's, three
times a week, II ! am not mistakenlt shows how tho
popular hsert bests Verify, the Grecian Muse spoke
Greek according % the Greek poets shall our Aneri
csn Muse chan, IN foreign onggei Forbid IT, national
sense, pride, ambition
Ar. Fry then developed ct length at the piano ",
nous forms Of rnusca pieces entered upon the doe.
time Ct permatfOu-, treated Of psgiarsms and ndi.
Gated the Of improvisation. These Of course can.
Bot he quoted He spoke particularly Of the Quartet