New-York daily tribune., 1856-03-29
ACADEMY or MUSIC.
THE NEW OPERA.

upon third nearing OF SiSnor Ardtis opera, La
Spa further satisfied of the excellence of the
wok end Of the deserved success Of the composer.
We speak all the more emphaally because the opera
has been composed in this country, and it rests for
suecess entirely on the verdict given here at first hand
In regard to the originality of La Spia, it may be
proper to remark that the Opera does not exist against
which iAe charge of resemblance TO othhr operas may
not be and has not been brought. There is necessa
rly in music much similarity of school merely. Next
are meAdic smilarities growing out of the versdca
ton Of the language TO which those melodies set.
Now in English ballads even, where iambics used
almost exclusively similalies of this latter kind oc-
cur; but in Italian music, where the versifcation is
various and often with certain cesural pause that give
family kenes to all the melodc phrases get unle IT.
edy according to natural defamation, these apparent
plagiarisms yet apt to stick out. 1t would
b. easy to cite numerous examples in point. We men,
ton this because no criticism that we have
countred makes any allowance for this, though every
composer knows it and feels it. There are other
of similarity proceeding from the recognition
of the fact that certain chords best adapted for
certain effects To analyze those would lead tech
nicay too far. Then there are snilarities of FORM
experience showing that for effects of the musical
drama where unlike those of grand orchestral pieces,
the composer is hedgcd in by stage necessities, the
scientific development of ideas is hardly admissible;
ond hence the larger field for unchecked ancy, the
scope for reYcrie and the musical sky for zigzag is
wanting more or less. Next the fact that tho
musical melodies chosen for the voice must be those
which can be not only readily grasped by the singer,
but of character easily embraced by the popular
ear, and hence the latitude allowed TO instrumental
melodies is wanting for opera airs. Other sources OF
similarity could be cited, but these will suffice, our OBJ
,Iu 70 all otf to he 81
rather than enter into full explanation therefor.
The necessity also which each composer is under
not to ante date his music, not to fall behind the
spirit of the age and not to write music for the fu'
ture if he expects this generation, or any other, to
listen TO it, causes him to avail himself of the sam
total of effects already elaborated, and add thereto
simply his own individuality. The best composer,
therefore is in one the greatest plagaris Mo
zaIt, whose Don Giovanni yet holds is place ON The
stage sought all effect wherever he could find 1t, and
the merit of his music is not less his own personality
than the manner in which he ayailcd himself OF hs
predecessors. lie took the cantabile of the Italian
song, the harmony of the Italian church, the dra'
matte discoveries of Gluck, (none of whose operas,
bv the way, have been heard in this country, the
faques of Bach and Handel, and added to all their
GOOD points his own. The first architect was the
builder Of the log cabin, and the merit of him who
reared the c, logne Cathedral is that he took
all he could find from his predecessors, and added
thereto his own ingenuity. And the rule holds good
n all art and all science. But allowances are not
made for such necessities in music. Hence we have
seen the charge of deficient originality brought against
every opera. To cite facts the Barber OF Seville
the most perfect comic opera ever wrten-was utterly
condemned in the chf Paris paper-the Journal des
DtJaf, IL we recolleot Alright. When MeyerbeerS
Robert le Diable was produced in London, it vas IN
Ike manner condemned When Bclni's PJata-a
work bearing all his distinct indviduaiti'7-was
brought out the chief London paper said it was well
named, for every piece in 1t was pirated SonnimOua
tewise was said to have no merit. All Nerlts OPP
eras there have been critically damned without eXcep
ton. To 20 to earlier days, find that Mozart and
Beethoven had their troubles as to the excellence or
IL other words the originality of their operas and the
latest Developments of the history of the former com
poser show how little was done for his operas, while
Beethoven concluded his musico-dramatic career with
bat one complete opcra-his first experience with the
public being sufficient
In looking therefore, at Sguor Ardtis work, it is
quite sufficient to regard it, beautes, which abound
and ss TO its originality, consider whether he has
taken at the start Of established effects than for
example, did Rossin, whose chief pecularity, the
ceudo which appears in almost all the great maestro
pieces. was taken bodily from now-fOrgOtten COM
poser and whose indebtedness to Cmarosa and Mozart
he himself acknowledges, and the public does for him
likewise.
MrsicAL IsrELLiGEScE.-TAe Paaslelptia CITY
hera gives the following intelligence respecting the
rev Grand Opera-House, now far advanced in build
ing and which is constructed, ore informed so as
to have every known advantage, and is to be an I'M
prOyemeb, on any opera house in Europe. 50 much
E Art in America While yet Mr Gusts, the adopted
son Of the frst President, Washington, lives hale
oad msn-the national history thus being comprised III
the portion Of the life Of one man-an opera-house
superior To any in Europe the point OF being com
peed. and that too, not in the principal city OF the
Cnou:
Width Of stage department, $50 feet Width OF
e proper 90 feet; depth 10 feet; width Of audito-
nam, between the walls, 90 feet hight 10 dome, 10
es'; depth from curtain to back Of boxes. io2 fceti