New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1854-09-12
THE OPERA.

Last night Castle Garden contained fully four
thousand peOple-which probably by some would be
called eight thousand. All the seats up and down
stairs commanding a view of the stage were occu-
pied besides crowd of people in the Hobbies. The
opera Norma, was a triumph Arditi, the leader,
knows his business, and conducted admirably. The
6r scene introduced Susni as 0roveso, and in all the
plenitude of his noble voice he acclaimed sacerdo
tally Then came Signor Mario as POllione, the first
time he has appeared in that character. The part
was written for Donzeli robust tenor, (teR0re ro-
busoJ who filed Europe with his fame, and is ILL
adapted for the sweeter, lighter organ of Signor
Mario.
The Horid, picturesque accompaniment of the slow
movement describing the dream of bridal scene,
was too positive and intricate for the effect of
Mario's voice; and finely and dramatically as it is
written, il told less than pieces accompanied by SIM
pie chords. Composers, aware Of such result often
avoid symphonic Accomplishments, though able to
give them and please critics. The allegro maestro
Mario gave with sersin alterations, leaving out the
two low notes in some cadences, and singing wohigh
ones not in the score in others This solo ener-
geticay acclaimed and acted, and was well received.
The appearance of Madame Grisi as Norma has lost
none of its accustomed majesty and impressiveness.
moving with prestly serenity and grandeur, che pre-
ssnted picture which won admiration from the
largest audience which she ever appeared before
frsuch was that Of last Night
Her C0std Dipa was sung as well as we heard ii by
ess in Paris eight years since. The music Of Casta
Diva was well observed except at the notes on the
ltnultemate chords, where the composers meaning
vas destroyed and poor commonplace substituted.
nano-maestros and singers are not composers, and
erefore we often have curious soeci,ms aud barbar-
aus In the alterations OF the music. In this case one
he most delicate pieces Of phrsseology, SO beiut-
~! expressive Of prsyerfu almost fearful, religious
@snsiiy, and the response in exact Symmetry to the
F,'ase Immediately before it, was ruined b. an alter
nen As Bellini wrote, it is b natural, c, fiat g.
10 hen the closing f. The frst half tone in thdi
i'aiou the sentiment considered is exquisitely elo
isn' and answers symetrcally to the Ofthe ante
'entma,e phrase. Genius cannot mend this, but the
-sffi'y which demands a more positive note for the
natural, gives us a gnudy trumpery G, for an ac'
eaied climax, which the composer did not want and
,vsic have shrunk from. We are aware Of the
.@esiy Of conveying anything like criticism in a
~Nspeper, and 90 out of the way here TO indicate
s%d the many acts Of violence done 10 melody,
inch cannot be altered from the way which genius
ssasit.. Let it be remembered, says Carlisle, I'VE
p'ehe spirit of his Words that one genius sees
!N@ deeply and expresses more clearly than all the
.sn Of talent put together. The Cabaletta Of Nor
is hrst air was sweetly rendered by Madame
ma Tho new Soprano, Miss Sonavan,
hsh lady, or as she is mons ensicaDy
~sd, Naturalization, Doniyanni las if anybody
wa fig where she was born, If she knows her
lslnetg baa a varv nico yOice. and excepting a
Of letting Il fall in the lower region so it cannot
ksesrd, and dragging her rectstive, did very well.
" has evidently been carefully tssgh', and went