New-York daily tribune., 1858-08-31
MARIO AND DON GIOVANNI.
to1eence Of The Msnch.ster Guardian.

s.rr.,roreence Of The Manchester Guardian.
The great success OF the past season at the Royal
Italian Opera has been the production Of Don Go
yanni" The lessee OF opera house has this dill
Sulty in bringing out new operathe greater part o.
the season is wasted in rehearsss Thus, Don Clio
vsnni,' which always brings three or four crowded
audiences, and would have filed the thester for
twenty nights with the cast at the managers disposal
WAS not brought out until the fag end Of the season,
when many subscribers had already left town. Every
ore knows that the part Of Don Giovanni was written
for baritone and that every baritone of mark has
tired the character and failed, with the single excep
top of Tanburini who is SAID 10 be little likely 10
appear upon the London stage ltmay be maintained
with come show Of reason that Mozsrt committed 4
mistake in giving the love music OF this part 70 bsr
tone when all tradition and the fitness OF things point
TO the sympsthetc tones OF tenor rs most expressive
Of the tender passion. BE this as il may, Mario is
fortified by the example Of several great tenors in
detskDg tins arduous character. IL 10 also whispered
that be not sorry 10 obtain possession OF part in
which little demand is made upon him for those high
notes which are somewbs. impaired by time and use,
while the rich, sweet, and full middle aud lower notes
Of hif voice constantly heard with moving effect
An the charming songs and concerted music OF the
great com poser masterpiece.
In order 10 enable a tenor to sing ths music OF a
baritone, il is of course necessary that IL should be
trspspossd A more delicate, difficult, and uuthank-
full Office could scarcely have been conhded to Sgnor
Alary, who might have expected that the virtuous
and ample minded critic of the 1.-TWO standards
would raise fghtiul clamor about the reverence due
to Mozsrt-the iniquity of omitting the las. dozen
hey which is usually sung i'll in another. So favorable
opportunity Of showing his technical knowledge,
and 81 the same time OF writing down the Royal
Italian Opera, was not 10 be neglected. Luckily, how
ever, the general public was not critical, and your
readers viii entirely misconceive the sentiments OF the
cornoisseurs II, relying upon the critic oi the two
standards, they should dream OF the Metropolitan
public outraged and dsgusted by the ranspositons
at keys and the change from to c. What they saw
was the finest performance of Don Giovanni since the
Palmiest days Of Tamburini. Imagine cast which
ncudes Grisi a. Donna Anna Tamberlik as her lover,
Bosio as Zerina Mario as the Don, and Ronconi as
Leporello, How handsome Mario looked, and how
IKE noble Speniard Just stepped out of picture by
Velssqrez, IT is unnecessary TO say His costume was
perfect In the early scenes ne appears upon the
stage esnyiEg golahesded cane, which, as Mario is
great historical authority upon points of costume
and equipment wss, we may be sure, worn by the
bidsg0e CT the period in which the is supposed
10 be cast The gentle manly and unaffected bearing,
the copsunmate taste aud ease with which the music
wse sung the exquisite phrs.ing and delivery of "Ls
al darem' and the serenade, have never been sur
psssed and cannot fail 10 render " Don Giovanni oae
Of the most admired parts IN the repertory OF the
great tenor. The critics not far wrong when they
say that N the scenes with the statue Mario s to-
much occupied IN remembering music not familiar
10 him &c throw himself with abandon into the tragic
and tuperpatursl horrors OF the situaion. But tee
lyrical drama sffJrde more finished and yet
Yetc acting than tina, OF Msrio 10 the Haguerots
Lucrelia, and q" II Trovatore,' although in the
bret and greatest Of these operas lie began by giving
ns Ell. and colorlsss outline, which he has gradually
hned in with flesh and blood. SO may vel afford
TO wait until the Grtte has had time 20 devel1pe and
nature his conceptions of stage effect in bis new psrt
being corrent meanwhile 70 hear tue music infinitely
better ssIg, and the character better played than by
any Don Giovanni 81 present IN possession of the
stsge.
What shall We say Of the other Characters 10 this
,smaIksoe css.--!he Donna Anna Of Gssi with tbs.
tire outburst of natural feeling, she throws herself
upon the body OF her murdered father snd ;he thrill
pg ps.hcs wish which she Attergard describes the
scene 10 her lover Whist OF ramberlk, who sings
" II mlo tesoro' one but Msro ever did sing H.
asd wboee highest praise that Mario csn be spsred
without 20 nj the more prominent parsonage OF
Ire opera What Of the Zerlins Of Bosio-the re.
fined, .hs lsdy-hke the exquisite Bosio who sings
a" Bait, bs'i' ard VedIsi csrino" with such en-
ctartrg grace, with such freshness Of voice ard
putty of style and execution that the critic s do no
iedt lie bresth for fear Of losing vote and c.oaet
as,p jtIpg in the II Erm1r Of sl0irGuoL az G.!shtl