New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1856-01-05
THE OPERA IN NEU-YORK.


There was a very brilliant audience last night at the
Academy, it being the last night of the season. The
opera was Don Giovanni the principal characters be-
ing as follows: Donna Anna Ia Grange; Elcira,
Heuscr Zerliao, Ddice; Don Giorann', Morelli;
Lepo.eYo, Revere; Mas0so, Gulio The majestic
andante and chvalric allegro of the overture being
got through with, the curtain rose upon the old
rascay Leporello The music of combination with
its dramatic effects and the explanatory solo of FL
vira, failed TO rouse the audiences faint applause fol-
lowed even the charming Bath of Zerlina; but the
beautiful trio Of masks-the piece where the antique
sylc Of violinism is suspended, and the dulcet wind
instruments accompanywhcre, too, the ideas are the
most moderp-was encored. The finale of the first
act is magnificent unsteady speaking but dramatically
uns.rcsting-o cavalier keeping lot Of bump
kins at bay, partaing of lusty farce
thou lyrical DRAMA That cier0l de botoiNe OF
the modern opera the declamNtory tenor voice, written
at the pitch in concerted pieces in the school which
Duprez has made so famous, is wanting-the tenor
part in the first act being little less than bore az
given lat night. The immense developments OF BARI
tone music are also wanting in this opera, in which so
much good thunder" is now made. We believe 1t
is our friends of The Musical Rriec Of this city who
characterized this opera a. od-fashoned. This IL no
term of reproach but simply describes certain way
of composing chiefly regards the ptch OF the male
voices the nature Of climax and accent, and the vocal
form of pieces different from that now adopted We
prefer the modem innovations and do the slngers
and so do the public The performance last night
was not particularly satisfactory. Although the
opera was composed to an Italian text Tor
Italian singers, the latter do not like to sing IT,
as they cannot gain applause, Us a general thing. no
we're for example usually successful buffo, cannot
l.. r L. IwrF
not being comic Morellis drinking song, too, fell
dead Miss ilcnsler did not win applause. and even
Mad Didee was not great card on the occasion.
The versatile Mad La Grange brought noi down inc
accustomed paudts. In a word, the eject oil the
companv on the audience must not be Judged by last
NIGHTS performance The audience Will have to learn
ia listen 10 the orchestral meanings as well a. to sing
ers in order to understand Don Giovanni
The occasion Of the close of the Academy may
properly lead to make some remarks ON tne en'"e
season added to a review q the Opera as an lh7"'
t;p in this citv-ts past career and its prospects, to
peher with some suggestions a. to the best mode OF
carrying il on.
The season lust concluded, opened the lst OF Octo-
Der last under the direction of Mr. Paine, one OF the
stockholders gentleman of large means and great
taste who choec ont of pure dilleaneism to hod the
musical ribbons The singers mentioned as perform
ne last night const tuted the company, with inc au-
dition of Hlr Amodio, young man with ono OF the
finest baritones extanti NJ Brignoh, tenor growing
every day in roputation Nj. GasParoni' a. ui oasS'
and few others Of less note.
The njeces performed were Il TrovatOre, eight
times Linda d Chamonx, four; Nassanlio, iouri
Norma, four; La Sonnambula three; II Profeta, nine
| Puritan. two; Semramide, three Lucrezia Borga,
three: II Barbiere two; LA Favorito, two Don
| Giovanni one.
The newest Operas were II Prcieta and Troyatore.
The performances as whole were satisfactory. More
rehearsal was due in some instances, but this IL
| difficulty with such a variety OF performance Mr..
Paine has gained much honor by his hberaty ana
devotion TO the opera He was learn, sole master
I Of the establishment.
The close then last night of what may be termed the
third season brings again TO the consideration OF ioN
ers of art some very interesting questions-aVe those
who control the destiny Of that house yet succeeded IN
| any degree in establishing the Opera as permaisnt
institution Of New York. have they even attempted
TO bring that enjoyment within the means OF the peo
nle1 Have the letter and spirit of the charter been
carried ont, liza. the cause Of Music been really adj
| vonced9 Or. has vast amount of capital been
already absorbed in badly constructing and badly man.
aging badv-stuated opera-lcuse, and in seeking 10
derive It's support from limited ciass, which other
| wis., would have found uNestmcn1 n one ven s''N"
ted perfectly constructed, successfully 9ed-one
really creating and diusing taste fostering art, rem
dering It the growth Of our own soil, by placing IL
cultivation within the mean, Of all In a word-ha'
the erection of the Academy advanced or Impeded the
| cause of Music
These questions we propose 20 examine, and to bring
70 their elucidaton facts involving bnet AStory oil
the Italian Opera N New-York; some account Of the
places in which and the periods during when II mas
been performed the prices OF admissions, receipts ana
expenses the Dpde Of management, and the causes o
almost uniform failure. Preceding this examiii'on
We would parenthetically remark that al thee'er'
built ercusrely for Italian operate representations ID
this city have failed and that probably any house stu
devoted ercireiy TO that object cannot succeeds out
a. we win hereafter set forth, the performance OF i's
ian Opera NAV and should be given corjo'ntl! with
English Opera and other such entertainments, no mat
te, low ysri,s az have gwen PreemreDt popularity
10 Nbos and that whenever Italian Opera Is 30 given
on s,stcu. Their VII he probability Of its pernAneo
! ea.abl,-hpcot eb.cb bss oeyey before cE'.ed W.