New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1857-12-16
CARL FORMES.

Tbs Opera daring the last four or five nights has
aioye6 znssusl auccesS. The audiences have been
snpe and IN fact superior 10 the real accommodations
q the areconomically construo ed building. The
,ovelty in srsing has been Mr. Formes; in compo-
ftiou Robert le Diabk. The eminent German bass
vocalist appeared disadvantage lsy at rs as he had
coll rendered evident by physicsn's certificate,
what was batter for worss), by his diminished abl-
fy. For sope economical reason, BASES always take
he part OF candidates for the gslows-su,h as vii
sins-ip chief srberranesn schemers OF the flesh or
the devil OF at beet heavy fathers upon whom daugh
srs lean dzrpg bit of solo in the orchestra. But the
bass being che manifest because the deepest voice.
nd alone capable Of al the voices Of giving black as
veil as white rctes f we may lay on the chro natic
Gt;ncion, Ia really the truest voice for the heroic
svs- ss mons bit the brave deserve the fair. Such
vsr can be terrible well tender, disbolical as we'll
divine and no tenor can have the same scope, even
The bring the immense intellectually Of Duprez to
beer upor kis readings and decamations Uoques-
sasSy the lyrical tragedy, where Romeo or Othelo
barss raees, and dies msersby of loves darts pois
ued voul6 gain intIusted TO great passionate bass
voice. But with these truths, which ought to be pat
at composers run il the old grooves, and their idea
Of the expression Of mans love is the voice most
ose, spuroxinstpg in vibration and quality to the
sniairs vo;oe. The next innovation 10 opera, there
sre eherld be the transmogrihcstion of the basso
ko,, tbs villain into the lover. II sach were DONE
ann, az Tia greatest artists would show most excellent
apsti,s little dreamt of in their present circle OF op
sras, action. Especially would this be tho case with
Mr. Formss. He is no burricape-deck bass. He is
bsseo-csrtsnte the very man to chow thai manly vol
rms sro oeph Of tone are the best for the grand pat
ron. Lrdeed, we were convinced of tais in hearing
hin IN Martha, whore be has a little approach to a
otaiu hind Of sentiment not found in Robert-wth it's
ortdoori,h word Of command and birthstone fa;heriy
asrahira.. But to come to a more particular word
u to tie qualities of this artist:
Mr.. forrnes is well built stout, ntelhgent-looking,
arssabIvyissy ed man. with nothing 6end-like about
him except what paint and plaster can effect. The
quality Of his organ is Engsh, not Italian-and there
Distinction In national voice as broad and clear Is
n nat:ona fsosl type. This English quaity is GER
hin b..thpess beartiness, to be considered apart
rom ths spritua beauty or intensified or sarhsugn'
.,n.,,;o, which the voice may possess intrinsicay.
HE method not ineproacsaoe, but capable OF emen-
sstion in bi, mode of attacking the notes, which is
som..nes deficient in vbratoy force at the outset OF
The ,ylabacstion. This gives the impression OF less
volume IN the louder declaration than he really pos
sess.s His style is ample and fs1ie for while isrge
In ssrios parts it Is easy and vouble in the comic
His intoDsion at first egregiousy faulty, but has
nsrded since. As an actor he is good-best IN COM
sy His presence has been the signal for On influx OF
fsutsnic auditors and in fact wejudge that the Dr.
mans a. ths Academy and above the natives NOS
counted, Sere as numerous as any audience in Ger
man opera-house. Whatever retcence OF applause
ne evident ron bis countrymen at his impersonadon
dBertran vss more than made up on Saturday, when
EartAa vas given. 1t is worthy of remark after all
tbe combustion in Germany about the music OF the
future, the most really popular work by German
composer ia the French bravery of this pretty WORK.
nice Jelly music there being but little occasion for
or Am AT the heavier work Of the drama. A resuy
hrre spe solo for Formes would De great accession
10 ia stock Of pieces, which do not include superla
I've mslcdy-.hs mos. ambitous Of them, that OF the
eaas Of ths tiird act being faulty. But ID no won
der yoarg composers fall short in such oases Consider
ne how Utterly bald all technical rules are IN refer
snes "a t5e Grammar AID rhetoric OF weconstructed
melody. II sueh man as Rossini had ever chosen to
tel nelodc secret, Flotow would not have made the
ieiupe work Of commencing four phrases answering to
forr lines Of poetry, FROM the same point and tnen,
after givirs climax and descent requiring fall re-
traced an Ascension to the keynote. Indeed in no
branch Of art is there such canoncal restitution, and
therefore 20 much need for graGus od ParnGssam,
~ in melody Criticism on this head has hs.dly any
s1istspce Beyond general laudstion of the mos
venerable hodgepodge melodies Of the odsit orato'
rios and subnsted Disregard for mstrie.l variety
over ar above tho stslest iamoo plattudes, there
hardly word to be met with in regard TO melody.