New-York daily tribune., 1858-03-09
ACADEMY or Music.
MEYERBEER'S HUGUENOTS.

MEYERBEERS HUGUENOTS.
The best and cheapest musico dramatic entertain
ment ever given in this city was offered last night at
| the Academy. We say this umeseTedly. Mr.. IT,
right in putting up his prices, for if ordinary
entertainments are worth one dollar this is worth
much more. Such splendid force of orchestra and
chorus such Uniform excellence in all the parts, far
ceeding the cast of the Academy of Paris where Mey
erbeer brought out the work originally; such a bril-
liant display of costumes and scenery such elaborate
Iehearsas as have been bestowed it, should teach
people above ChOcaws that very superior article in
art is like in other thngs-t ought to be well paid
for. But this is a delicate subject we drop it.
The house was not full last night as it ought to
have been, the spectacle and instruction and delightful
entertainment considered. We shall believe that the
furious snow-stom which set in yesterday, con-
clusivey violent compensation for the late warm Win
ter weather may have much to do with the want of an
overflowiDg house.
All that the manager promised was done. The
scenery, dresses decorations stage business ullness
of detail were all there. The costumes for the
men brilliant-we did not think much of the wOm-
ems OF course in the last remark, we except the ap
pearance and dress of Mad Lagrange.
All the singers distinguished themselves Madame
Lagrange was simultaneously encored along with
ForIAes and Tiberini. Indeed Madame Lagrange
seemed to have developed new dramatic powers,
through the music assgnedher Formes beside looking
Ike the incarnation of the old spirit of religious reform
was never grand. He seemed to hold his audience in
the hollow of his hand Tbsrini was most tender and
beautiful in his love music, and gave that terrible
note-B natural in alto-without break or difficulty.
Gassier Was as always the eminent artist.
The production of a great opera IL great event
Every year the public shows growth of ideas tend
ing TO correct judgment on the composition of stage
illustration and lyrical works. The Academy OF
Music here the Academy in Boston, the Academy In
Philadelphia are each and all magnificent proofs that
art has grown and will grow in this country to de
gree go that in very few years we shall cease to
defer to Europe mother country yielding US sup
plies and look to ourselves for the creative faculties
in the spiritual walks of beauty in the same way
now do in tangible things. OF these arts, Music,
though so little estimated as an intellectual achieve
ment and resource necessarily the last in the
order of national civilization; for not only does it
demand physical gifts of extraordinary splendor and
rarity for its most ravishing effects, but requires the
highest mechanical improvements Of the age
for its harmonical calculations in the structure
Of musical Instruments, which are wonders OF
ingenuty-inferior in nothing to The most vaunted
practical exronents of the mechanical epoch. In ad-
dtion TO this the acoustic requirements OF buildings
wherein music on great scale is executed the lavish
aiornments end the curious speciaes OF operate rep
resentatons which include all the esthetc arts poetry
no, excepted give to the performance and expression
Of the lyrical art very wide range OF human study.
Architecture; mechanics painting, sculpture poetry,
history the gift of heavenly voice and OF passionate
tistropism are all required for the production OF the
opera; TO lis must be added the rare dover OF COM
position or the srt Of writing successfully Tor the m'
scsl stage which is possessed by 50 lew, though 50
many essay it. Indeed, we may remark IN passing ths'
ali the European States at this moren furnish Dut ons
dramatic composer who may be relied upon for con-
slant and steady supply of operas, intended tor the
Italian stage or stage for all countries, and having
reasonable chance of worldwide success In speak
ing thus casually, We do rot forget the charms OF
Meyerbee. a composer who is yet occupied seriously
and devOtsdly with musical composition. But as NJ.
Meyerbeer produces only one opera about every ten
years his fecundity does not keep pace at all with
public requirement. Hence Verdi has the field al his
own. But when Meyerbeer does make an opera, 1t Is
generally one to endure. 1t has breadth and strength
The intellectual nature of his designs and the religious
historic and transcendenta quality OF his musical paint
| iugs rightly viewed, and estimated products oil
| brain-power and as noble human achievement, vii
| of by those who only consider them anpsenents-
Indeed in regard to NJ. Meyerbeer it mus: be reHern-
bered that one OF the most eminent dramasts OF this
or any other period, Scribe is his eoabOrstor IN the
work of opera-msking. Scribe aud he work together
And look a. the great and ingenious they pro-
duce. Regs-d the grand historical pictures they
summon up. Not going beyond the drama
Immediately in hand, what grander, more terrible
or more sublime event in history is there than
| that hel-nspired massacre Of some 21O,OOO fro'-
c,tsnts-s sacrifcsd by of tbose fierce deu'on' Oh
the human intellect, by which ii attempts to pay the
part of ;he Almighty fix faith and creed BY ma'ne
maticsl rule and decides that the eternal soul mus
or sink 50 and so. though il were physcA :
matter capable of mans handling and graduat'ons'
truly sublime subject for historic painting; and a. ''
risS Of being misunderstood do not hesitate 10 say
tAa, no other medium OF presenting il vivoy 70 th
human Imagination can be found equal to thst "i IN
opera'house. We may read Luther; We may S'ul!
tis 'qrare.cHt solemn oounteuance; but let the wan
| ie, O, Ls ymn bs Heard o. tao stage IN cdaTac'e