New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1853-03-19
The Opcrn.
The Assembly then adjourned

Lucia de LammernO0r is thorough pIsce de
restSnee Perhaps opera ever written has been as
often played in the same number Of years It's parts
al beautifully displayed and equally prominent
to engage the affections Of singers and render them
DESTROYS Of producing the work In not few operas
this diusive saency Of characters is wanting In la
OHRambEls for example the character Of Elyino ia
that Of a sap; that Of the Count negative and the
burden OF tie piece thus rests the heroine These
varied prominences OF character have not little 10 do
With the success Of Lucia.
The musical rhetoric of IL IL admirable; never diff
fuse or obscure and when not designedly ornamental
for the sopranos Torture Of rigid declsmatory char
acter constantly heroic or passionate To deny this
to LHc41 is to deny musical notes, Tho Instruments
ton Of this opera Is particularly beautiful In the
elegiac use Of the violonceo, the romantic employ
ent Of the horn the hrabesque treatment ofthe iute
the unsons of the trombones and so orh-sll modern
effects and indicating the mettc of the composer, t
stands out IN high relief There are operas more
preteutiousy written than LuciG-more ambitious in
political or theological dispensing with clear
square eight measure melodies there il opera
to which the word beautifulcan be justly applied
Madame sontag particularly shonc in hor last solo,
when che interchans with the flute in the most delicate
spray Of sound To understand D0nizetus music, for
her part, must be remembered that when he wrote
for the Soprano he used three grand divisions Of style
the declamatory the cantabile simple, or where the
syables respond to notes in about equal numbers and
the Hord style where many used to compar-
atiyely few syllables The aord style, however, he
rigidly rejects for the masculine voices and
In this his work differs from. ard in philosophy
or e,,hetics s superior 10 Rossinis Italian operas
We hold this to be correct view Of the Great
Art of writing for the voice based on the laws o.
sounds the sexual phenomena Of tone, and the circle
Of feminine influence In music Hence the long drawn
Torture for masculine voices whether the oldfish
Toned In HANDLES Orstorios, or the newiashioned In
Rossnis operas hold TO be violation OF that manly
severity which is indispensable
sgnor Badial Il always more or less successful with
his audience In the Duetwith the Tenor last night,
he secured an equivalent 20 an encore That duet,
for some reason or other cut short by Tambunni
ana Rubini and even Duprez gave II the go-by some
times For this there appears no reason. The andane
Is large and diguifed, and the allegro brilliant, and
dealing in sequences Of thirds which composers will
use until some more fluent or captivating medium OF
harmony for 20 voices be found which event does not
seem impending,
signor Pozzonni in the curse scene was not up 10
the mark This ery cbufiton Of the authors genius
written for DuFrez requires enormous lungs and huge
decIsmaiory proves. We are notable to indicate any
tenor now in Europe ~ to doit justice The hnE air
1. enc which supports the singer There are two kinds
Of music one which makes the singer In great de
gree. and the other which the singer makes. o. the
former kind in signal degree is the solo IN question.
signor Pozzoln surprised by his delivery OF IT, and
be was called for after the curtain fell
We do not agree with the trenehAnt criticism on the
soptae troupe Among the rarest Of Gods gifts, Is a
voice connected with adequate dramatic taste and
sk physique that will bear the and tear OF the
stage. and the moral courage to face audience Il
i 50 easy TO and fault What have we not read sgns;
singers and sgains, composers And Of those that
criticize them how many called upon eonld indicate
how massage should be sung or write two measures
of music il their eternal salvation depended on