New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1855-04-10

Il characteristics Of Rossnnis mrsic-but be,ouyiuy
3, Bsuio beyond all Others and beucs his unequsei
ropDlsrity-for in TIE ye1s Of life worth having love
n eft is sll-in sl-snd then the lsve-poes 6ads
such worship other lyris. can, vhe, cold sn.y
o. in after years has usurpcd the place Of trusting an
mQoniDg emotion, Which receives Impressions IS the
does the sunl ght atd asks OF ~tersore il
The siia above is conducted by 40 ne ia'srlocussry
n usic to final msjestic allegro, where the young
AFHo'd Invites his eomparo's to follow hi to tue.
Ibis air requires prOdgious energy, and made the
TO lure OF Duprez, who was able to take its hish G
IN chest voics-s' which the house rose. When bad
s gers aided Dup;ez, the wits in Paris u,ed to cali
| " liam Tel the opera Of Duprezs C alo-igaoriag
al TIE rect. This scene Is much at ia tie Italian
No. IN Recitstve and Trio is Gu, out, ami the
g. sIe Is bury music without striking Interest, the
stsge effects of storm the lake and boat carrying
Gesier. WIliam Tel taking the place of maseA
point chorus Of Swiss triumph and OF Ia
ercs tie music Of the opera
The characteristics of this opera are those Of yigor
IN The dramatic treatment and sec ura,e ocsl c,Ioring
il Alpine view Of tie queson 1t contains mas,er-
pieces of design. The vtxsd question OF whether
should be true or bei iful or beautiful alone
10 here settled, 10 degree, for have true mu.c
VII ch is not beautiful captivating, sad that which
is both The old contest, no sever ye, RACES Tho
true dramatic school will not be bound BY square
mtlcdy-that is to say. egh,-bar phrases, ansserne
to tour lines of verss, the second line eadog with
semtc a,ence net the key note. AID he fourth line
enoipg with full cadence the key note original
or te key note of the fourth below major the third
beow inOr, or the third above minor or il the
key be c, modua,ions to G major, minor or Il mi
nor. But the beautiful opera school insists on
49, to fta
ipgs of melody such as the hear, prompts and
the head remembers. Take any melody, and, saving
exception like the extra rhymth in God ssrs tie
Kng-and IL is subec. to these rules Of simple treat
ment-the very simplicity apparently of them. making
melcdic Inspirations destined to be eesnsy popular.
al the more rare. But a. coon as the elody is cut
short at the second, fourth sixth bar or runs into
other than the above keys a cadence, II goes be-
yond the fret promptpgs Of national meody-such
a. are fourd in all Swiss national music-n Irish
music, In Italian or Spanish music or in sich impsr-
isl able melodies as the Msrseilles Hymn. To these
three ncdulsions We must add a bsrbarous Scotch
one, ard II snsition of key capable of being popu
larry acceptable, nelly, from the major to the minor
by reducing the third halftole This s done In the
Marseiiles Hymn and is very common in old French
music, such as The Song Of Roland, tie Troubadoar.
etc. There Is extrapopular meditation afirmedin
the waltz chorus OF William TEL but 1t beyond the
common ear, generally speaking, and is accepted
on account of the simple beauty of the first part and
its symmetrical coincidence with that portion of the
sir. The s1igences Of dramatic treatment cause
composers to seek to reconcile tho popular qualities
Of melody with deeper expression: hence they re-
sort to transient moduations in the accompaniment,
and to various profound, mystic and noble outwork-
ipgs in that department addressing themselves to the
connoseur while the air remains intact for the popu-
lar ear. As opera is popular or diffusively dis
played which dspenses with these conditions, we
spprehe nd that assertion or fortifcstion OF the
! Gluck theory, pure snd simple which G!uck himself
did not as we have before observed, follow strictly
will entirely dominate in the opera, but that compo-
ters will give both purely dramatic Peoss ss we'll ~
melodic ones with an uldercurren, of dra nac treat
| mtnt.
But TO come to the performance of last night. The
orchestra Of The Opera House now numbers about
fifty performers. The BASES and stiDged instfu-
msLts generally are better than the wind Mr. Ms
reizk led tie overture carefully and vigorously, and
his Efforts well seconded; but most of The effect
Of This initial magnificent composition lost by the
confusion which prevailed in seating the monster gu.
6ierce, which hardly accomplished when the
curtain and display ed Allegris beautiful scene
a mountainous landscape, with lake and waterfall,
cottages occupying the foreground.
Tie Introduction particularly well sung by the
CT oIus which has been materially ghened Of late
and now numbers fortytso excellent voices. Tho
entrance Of Badiai as VIM. Tell ws greeted with
applause. lie wac appropriately and admirably
dressed and we may soy the came Of all the other
principal characters Great pains had evidently been
bestowed upon the costumes. The chorus, corps do
ballet and supernumeraries were lkewise we'll hsb-
tied, with the exception of a wasn't Of variety.
II is all well enough to have Gesslers guards in
uniform, and 9 very nice and picturesque uniform t
H. but the stupid Italian conventonasm Of dressing
all the Of the chorus, whether representing peas
ants or mobiles, or what not, like q company Of sol
dieis after one pattern to cut and coors, and all
tie women after another fashion has long since been
exploded in this City, though still curren. in Italy. In
the present case the nhab an's Of the three Csntons
wore three uniforms bu, the appropriate picturesque
effect Of the variety of individual coor was lott.
The part Of Melcthsl in this scene wm well sustained
by Mr.. Muller, and Mr.. yietti sang very nicely the
mu.ic allotted to the fisherman. Bsdal dill his part
tere nobly The part Of Jenny was well sustained
by MADAME Msre,zek 10 this scene as well subse-
quertly.
The re1t remarkable point was the chorus
S'eterria IL ranto, the charming harmony Of which
was eAqusiteIy rendered. In the next scene, Boil
ciobi and Badia did the famous duet, tumultuously
approved BolcioIis robust tenor voice was well
suited to the part he bias great mastery over the
upper Dote.. His style is better than bis method.
srd be has moments Of Inspiration. He msgnetsed
Tie audience in tie duet well 10 the trio in the
nett act with Badisli snd Colet,i. Mis- S,ef.nons
has 10 part worthy Of her. The opera lie weak in q
fe,,,iy character Radiali looked and acclaimed