The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1853-10-18

but VIII etuui multly, Iudt JdIueS OOI-
don Bennett, the editor and proprietor of the
New YORK HERALD, is now au applicant for the
! highest embassy in the gift of the American
government; and that is the embassy to Paris
and that he will forthwith make out all the ne
cessary papers and present them in due form to
the spells Cabinet, for the solution of this i'm
portant question. We, therefore, call on our
contemporaries, here and elsewhere, to fire away
our dependence is on the good sense and patriot
ism Of the President.
! ITALIAN OPERA-WHEN WILL IT BE EsTAB-
LIsHED ON OUR SOIL Eight or ten attempts
have been made during the last quarter of a
century to establish italian opera in this city
and country, and most of them have failed. At
this moment an opera house of immense magni-
tude is in the process of construction in this
metropolis, and two others, of similar dimen-
sions are projected, and the association there
for organized in Philadelphia and Boston The
walls of the Academy Of Music. near Union
square, are rapidly being reared up to heaven !;
but walls may rise, and saloons may be opened,
and chandeliers may be lighted, and wardrobes
collected, and great artists engaged, and yet
there may be something in the moral soil
of the republic not altogether congenial with
the permanent establishment Of such an insti-
tuition, mingling art and pleasure exquisite
music and execrable morals in the same dish
and the same public establishment. The Aoade-
my of Music is rising rapidly from the ground.
but the engagement of the greatest artists Of
the old world-Grisi and Mario-about whom
SO much has been said is blown to the winds
Mr.. Hackett, the negotiator in Europe, might
have been able to contend with Count Nessel-
rode of Russia, but more potent reason has
entirely negatived the idea that Grisi and Ma
rio can come to this country for at least year.
and the probability is that they never will Vi
sit it.
Grisi, it seems, at the last accounts was
in that condition spoken of somewhere in Shak-
speare. and it was probable that in few
months she would make an addition to an in
teresting family that can boast of many fathers.
This gives the coup de grace to any expecta-
tions that Grisi will ever appear in this coun-
try, or Mario either; and we do not believe
that either Of them will.
But another and curiously important cues
tion springs up at the threshold of the in
quiry-can an italian Opera possessing the
characteristics and excellence Of the institution
in the Old World be ever established in the
New? We doubt it very much and we be-
lieye that all the projects to establish it will
end more likely in comparative failure than in
success.
The opera, or musical drama, originated in
Greece many centuries ago; but then its form
and qualities were rude and barbarian The
germ of opera was the chorus of the old Greek
tragedy 1t was revived in Italy in the middle
ages. and may be considered natural emana-
ton from the splendor, the beauty, and the
morality Of the Catholic Church and the Catho-
lie clergy in that period. During the last few
centuries it has grown and become developed
till it is now almost social and artistic insti-
tuition in every great capital of Europe, con-
nected with its highest classes, and partakng
of the policy of the government and the forms
of society.
With some few exceptions, the Italian opera
in Europe has presented the highest character
istics Of musical excellence of artistic skill and
genius, mixed and blended with volup.uous
ness Of manners and general immortality OF
principles in social life. The whole liae of
artists--nale and female -partake Of the char
scteristics OF the privileged classes, and con-
tribute to their pleasures, either as artists in
public or as favorites in private life. The ad
dition Of beautiful, splendid and voluptuous
ballet to the musical drama has only present.
ed wider developement of the same great
social principles which accompany the opera
in all the capitals Of Europe. The great
est artists of the age, Grisi and Mario, only
presented, in their own history and in their
own persons, the same characteristics which |
have marked the institution of the italian
opera from its origin to the present day. The
highest developments of art music, personal
beauty and grace, singularly blended with vo-
righteousness, corruption, and all that wild en-
thusiasm of manners which characterize the
privileged classes Of Europe in the present day;
and even with all these destinations. il is a
matter Of historical fact that in no capital of
Europe does the italian opera subsist on its
own attractions alone. Every government of
the old world has either directly or indirectly
to sustain that splendid and voluptuous insti-
tuition. by large subsidies and subvcntions of
money. And still, with these aids, the recl-
lessness, dissipation, extravaganza and Wild
ness Of managers and their artists, always tend
to sink them in ruin and bankruptcy.
Can such an institution, with such charac-
teristics- enchanting, and engaging
in one respect; questionable, doubtful, and i'm
moral in another-be blended with and succeed