New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1855-04-10
MUSIC AND THE DRAMA.
WILLIAM TELL AT THE ACADEMY.

The production CT Rossnis grand Opera, William
tn, at the Academy of Music Fourteenth st., lss.
night in an elaborate style, is marked event for the
musical world 1t is the first time that celebrated
work, translated, has been produced on the boards
of a New.York Italian Operi-TIouse though orgi-
nally given at the Aca5tmie de Mgsique Pals In
1922 and still maintaining its place there ns dst
class piece of art and having been trsnspanted to
this country by the New.Oreans troupe, and even
played in this city, during peregrination hther.
Such being the fact regards its former production
here it would be well, by the way, for the bills to
have their statement corrected which asserts that it
is now given for the fret time in America.
That a work like William Tel, word-renowned,
should require tventysix years before it is rendered
with comparative elaboration for we do not count
the touch amigo peripatetc performances Of our
New Orleans friends as Indigenous to this city sug-
ges,s 81 observation the peculiar difficulties Of
composers getting hearing, when his opera Is very
elaborate with many Characters and in another
point Of view indicates the progress Of the operate
art In this country, since the fret complete
brought cut here only thirty years ago.
That there should now be the resources to render
lyrical drama such as William Tell with each part
fairly or ably filled, wfh numerous chorus aud or
chestrs and scenery which would do credit to EG-
rope and all in an Opera House hardly surpassed by
any abroad in splendor is indicative Of rapid pro-
ere.s In the ability of the City to compass great mu-
scal undertakings end mo recover, we trust, of its
rover of appreciation. Whatever suc,es is to a.
tend William Tel here, il must be borne in mind
that the opera season s now, properly speaking,
done; the enthusiasm and money of the people hav-
ing been go lavish given during al four months to
Grisi and Msrio, Ia period as long as the Italian
Opera ventures to perform in the great capitals OF
Paris and London duriog year. That it is no test
whatever Of the success Of musical enterprise to
iudee Of the attendance given it a. this moment.
Tbs was evident in the very slim house present at
the Academy Concert on Saturday, piece OF power
ty growing as well of the exhausted season as the
fac. that the muscal world, not anxious to hear an
cid and oft presented piece, were reservins them
selves for full attendance at the representation Of
William Tel, ast night. The house, however was
splendid last night, owing to the great publicity
which has been awarded to the event Every avail.
able place from pit 10 dome was filed The fashion,
taste erudition and dettsnteism Of tbs town In
full gathering 10 hear to see, and 10 bs SEEM aud
the spectacle was not confined to the stage but be-
lopged in part to the radiance of bright faces and
smart toilets among the auditors.
JPulam Tell, though given in Italian, is French
Opera composed by Rossni for the Paris ,ademy Of
Music under pressure of the dominant taste Of the
establishment; always of eourse, subject 70 the mod
ifcation which man Of genius must bring to bear
upon bis subject. The length of the piece the vast.
mesa ard contrasts of ths stag forces the number Of
the principal characters the wool Of the ballet the
smbitousness of tie scenic department, the extent
and prOmintLce Of the recitatory declsmsory por
ton Of the vocal part the number and efficacy OF the
choiusts and the elaboration and sorority of the or
chtsrscn all are char sctersiic Of the French Grand
Op,ra But il is the French opera wi difference,
an0 ii at difference Improvement. 1t is the work
of stronger hand as regards kuo Wedge Of effect
than had yet worked for the French stage up to 1922
not excepting any of The classics.
The present perfection attained the stage OF the
Pais Acadt n.y. which b. common consent is regard
cd as the model Opers-Hou,e, where every scene is
historical picture and every detail, from The repre-
sentation Of m.ssve architecture TO The tie OF SUI
relnuueraiy sbo ssfiipg s reproduced with accura
y from the realities Of rbatever epoch, de.Ineated
Ia pictorial wcTks is he result OF series of progress
i've ,bors which have occupied its artists since the
time !, was instituted by Louis XIV. IL msy no. be
inappropriate here, while noticing the transplan.aton
Of ole Of the Paris Academys greatest works in 8
con parativey worthy style 10 our own stage TO trace
the cra6usl steps by which, in France, with even
GoyeIuu cit aids, the attainment. of tina, perfection
has required so long period, and TO contrast with
II at result the swift progress made in this country
stree TIE first attempts at Opera, as we have men
toned, thirty years ago.
The modem French Opera is OF italian origin.
The latter began in Florence, in 1855. But il must
10, be imposed that musico dramatic represen ATOMS
were ever extinct or that the Church mysteries as Is
empi,icaly and almost universally sad' kept ORA
matte or musical works from Oblivion. Their need
Of the popular heart has never died out, bat the form
took urde the auspices Of the father Of the grea