New-York daily tribune., 1858-03-31

American. Toe youDg msa Fry, win n. operatic
wrrk under lis sm broke IL rudey on tkc- prerogs-
tiyes' he brushed them away ike flies sai aud.-
ciously Iubmil,ed has work t. the public. Clearly.
u1,er sue oiCumstSnces II was the duty of the work
~ fail. Lui for some reason which the critics eouA
never III Gcrst,5g il obstnstey refused to fall ssd.
in poiut If fact saCceeceG pro0ieiou.y A fesss 30
sIsspe,sl . ~ loo ~ fcr Leon0Is faithful egsss
AZ ,neies ard ~ tkp species Of human creature en-.
ioys remarkable longevity j, is not improbable thss
Of tie apecnt force may tH.n up or tbs present
O. CO .un.
"Leopors" IL Mr.. Fry's G.st operstic effort for ths
pubic. and Ike s first erks. t coftaips much that
l. admirable. and much tsa, might be better !ts
pi.ncipa Characteristic is melody. The fertility Of
NJ. FN cntioB Is in this respect remarkable, and
s the nore remarkable from the fact tnst he does
TO; seek his Inspiration IN the shady and sentimental
g'oN,s OF tke minor scale ike most young composers.
nut n u.e bread sid beautiful uPsnds OF the majN
noce. Tie best melocie oi the opera orchestral aud
v,os sre "a the org hreattec, ceep Ctes.et major.
Tie exceptions 10 this general rule are. We should
supptse, intentional, as II the drinking song King
Death, where ssckcloth and ashes aud touch OF
biin stone are nreo,d, aud in tie opensg Ct
the second act, where seutimeptalsm and e5os
are necessary, and elsewhere a. occasion de-
mssded. But the prevalent colorng Of Mr..
Fiy's ;cn,u entShty mAuy; II Dies not re-
uipd ycU of the gtetnhoIn who trembles when
lie ~, hks 10 = lady, and sits down ca his lat n
penpiung tremor. WAT the literature of the day
(UpeCShy drama ic htersturel acks, tbs Opera sup
plies and ilustIstes-namely, abandon 1t gees fcon
idea to another without looking back, and 10
hearty ana elastic joy fu aHd satisfied 81 the be-
grnirg Of tbe fourth act at the commencement Of
the first II is Of course shows an imme nsey fsrtle
inventor. ho h. a. IL the case - Rossni spbssques
productions may tame down considerably. Prodigai-
ity Of idea i ,ceriary an indication Of genius and
with othcr ino:screiions, belongs to youth. But what
ar IL finite relief Il j. 10 be bathed me ody, aftsx
being dry rubbed with mere sound, a. in the case Of
some moCern composers. who IKE many htefsteurs
think that nothing can be gocd unless II IL hnnikin end
exhausted ard polished.
A f.alk Acknowledgment of the supe.abut dsut
merit of Of tie fist essentials Of opera leads -
naturally to tue contemplation ot fault which 10
sometimes uIp'eassutly apparent in Mr, Fry work.
This certain suggesiveness in the opening bars %
some of the melodies which carries our memory to
past pleasures afforded 10y other Composers Ihas, in
the sCcoud ard third acts there are undoubted renn-
isc.LCes of Beni and of DoDizett, and an old Land
Ter has not been quite forgotten IN the finale TO the
first act. The restmbances are only momensary ara
evidently not wiliul but il is one of the phenomens
of music that If you but touch the memory CT tune It
brings forth all that il has ever retained. Taers
nothing remarkable, therefore, that such resem-
barces provoked the ire OF those SHALLOW critics who
look upon their vocation as privileged grow ara
VII are never critical II not severe. IL is unnecessary
TO Justify bemishes 50 slight these, and it is not
our place t. do il under any circumstances But We
would remark to the initiated that musical compoa'
ton is study; that Il IL acquired ny precise, Gloss
and systemaio examination and imitation oil certain
models. Rssms cf rued paper are used Up IN the a.
tairm, mt, until the proc uclng mind knows how 10
proGuce in the most effective tanner Ii happeas,
inver ably that the fret works OF any composer bear
ceItain car-nnks of ether bands. II 10 the case %
Mr. Fry's first opera, and 1t was the case IN Mr..
BcethOyens fret symphcny.
Another defect which belongs to youth, n tho ex-
cessiye use Of brass in tie orchestra aLd-we might
add-elsewhere. NJ. Fry goes it with his three
tromtoAes snd his nomtsrdoue, as If those ,nstru.
ments breathcd tie elixir Of life. Not note 10 the
score hes been changed since the tims wnen w1
fret PLAYED in philadelphia and NJ who have heard N
NewICrk some of Mr.. Frye recent symphop'ee hsve
an opportunity of Judging DOW much he has improves
BY subduing this excessive Ntality. Apart iro the
Instruments the orchestI ration remarkable tor
ts fuercv for It's fullness, and for its progress. AL
brecf berger ewbere says, that the indispensable
requisites for q worthy theatrical composer, are
prov xpeeuCe Ofdramstc effect ia rhetorical decls
nation, lively fancy in musical palLtng prachcA
kroyle &c of vocal and instrume pts effect ard judi
cious employ all asful ards. Ipesch respect mr.
Fry is equal to the emergency suggested by ine me
old theoli,; his d, cametou Is diauatic our ohiy on-
lection being ttnt 10 ~ sometimes too dramstci nus
fancy Iuyurant to q degree; his kpo9l.dge theofee.
cal rather than practical, We Gdgcl Of vocal aud IN.
ttlUmeEtal effect good aud ais euploy nett Vi awfut
aids land unlawful aids, sometmss sufficient TO Eat
fy tire critical part Of the aU0leLce AID please the
multitude. Still have said his instrunt Ltstion
is loud and brassy anc IN some cases unconventional
20 the point OF incOusitei oy as 10 tho romance ana
Eiia of Mariana in the tuird hci, wAeIe the drum
ard the cyml ais en pOyed IN ths accompaniment
of the coDt'alio voice. We are aware that tho piece
il Moorish piece. a d that tie instruments arc
characteristic" But truth never sounded more un-
tenton to the melody fths romanza and Of ibe duet
which folows. They aie the Only additions Mr.. Rry
has made TO the opera, and chow once more how ~
toIisLing is his supply of melody;
The grestest credit ls due to Nine. LaCrange, hme.
DAugr Sigror Tiberiui, Sgnor Gassier, Signor
Rocco ard Signor BaIratipi. IL an incredibly short
space Of time, ana under Encouraging crcumstAncess
they have studiet mpCl taht r6cs and mastered tnen:
To Mr. Archutz too, who, in this revival, has worked
with urdeva,ng ntousLess. the thsnks of tho
public ard the composer are due. Misa cheering
thing to know that 50 much good VIII has peen OF,
pended on a work which IL simply to bs played once
more-and that in spite OF an emphatic success.
rom The E4r,"
Our irprf ssoI, If Ie nora" are OF mixed char.
acter the opera Gems h. us study in the school Of
Bclir II il full OF delicious, sweet music, but con-
stantly recalls tie y r1amh "a and Norma. tn
marked by bk.ll IN instr I.ntatioo, tLe secret "
which the composer seems efectualy 70 have probec.
1t has mary flowing melodies, many pretty effects,
much that should encourage Its author to renewed
Efforts but like all early endeavors, IL full OF re-
mini, IL tantaizes the nearer by much thee
reminds him Of other music. This is the case not only
in the treatment of particular situations in the dsysl
opmen Of character and the expression Of passion, but
also in the very airs of the opera Many Of those are
not limitations, but really adaI tations Stil there -
much that IL original or that at least indicates .
promise Of ongnality-mucb mat ons might ipsgihe
could be developed INTO character. Inc pecnnsrnes
which most strongly Distinguish his produeton orc
sweetness Of melody and lack OF dramatic charsotsr
ization. Al the characters sing the same sort o.
music-a love passage OF burst Of stormy pss'on l.
TIRE ated much 10 the style. One feels the neeo
Of relief from the mOnOtODy OF sweets
we cannCt now attempt to ansiyze the opera, but
muet cont mt ourselves With saying that It progresssa
in merit from tho opening scene TO the close The
fret act did not strike u at all favoraDy: the second
wac vastly better especially in the instrumental poe-
ton but constantly recalled Bellin and in the finale
resemble piece from Guillsume Tell. The third act
contains originality, the musicfor Mariana espe.
,isly being moe inl.vidualized and more spfited
ban sry in the opera Ths finale OF this act however.
q ud hut reminc again Of the fret act OF Son
uainbuls, while the concluding song OF the opera
also imitation unconscious u may bel OF the Al.
Non Giunge.
!. TIE opera vas wr.tten sikteen Years ago aud has