New-York daily tribune., 1858-10-04
THE OPERAS.
THE ACADEMY AND BURroN.s THTATER

THE ACADEMY AND BURTONS rHEATER
Saturday exhibited the spectacle Of two capita
audieuces-at matinee in the Academy and nig 1t
perforrnance in Burton-. The opera Of II'HGgl Tel
.houd commend isefto 0ur public through the bright
and venerable name Of the composer -Rc-.ni. By the
wav the illustrous quilted Italy about year
since lel--in a state Of much nervous exhaustion
his domicile in Bologna aud betook himself to Paris
There he was received with degree Of enthusiasm
which we cannot appreciate here, our scstaees are
drawn of from art through the myriad e,ectrcIties Of
trade. commerce and national politics. Art, indeed
has never been sufficiently domescated in New-fork
TO produce public standard gallery Of paintings,
create general interest the original production Of
high musical works. We are content to export raw
material the product Of labor remove above that
of the horse and the *, or ncluiing both, and I'M
port works OF art, leaving our own to pine and
die And a. art u intcrfusei and identified
with manufactures that the line between labor and
taste is invisible fabrics AMI artisans are subject
with the artist to the same bsTbarou estimate of what
constitutes national wealth grandeur and Independ-
ence National feeling, which il the motor Of the
artistic heart and hand is positively on the decline
vulgar feeling vaunng the mere carrying OF 50 much
cotton pork or grain, Is the uppermost idea with the
American people 50 far as their combined representa-
tion goes and their political expression Is as
serted. ANY opposition to this is but personal
and local. Nationally, it is imperative. But to
revert to Rossir Arrived At Paris. the change
Of ar aud scene mcndcd his infrmi.ies and
he has determined to remain there during the remain
der of his career on earth. The beauty Of the lately
improved woods beyond tine Arch Of Triumph-the
Boi- de Bouogne-struck his fancy and he applied to
tie Partisan City Fathers to sell him strip of land
there TO build himself a house upon. The fathers
wished not TO sell but to present il to him as mark
of reverence for hi, genius but he declined the gift.
saying that lie was lot rich enough to accep. of such
a favor-so he bought the land.
Whose wonld understand the fertility and fecundity
Of Rossnis muse should listen quietly and decently to
the music of JIiRiam TiU Let us look moment at
the overture. First we have plsinive movement,
the burden of which borne ny ak viocncelos. Here
j. an idea The vioonce.lc has ordinarily one part IN
the orchestra-Rossni gives II SIX. The song OF the
oppressed, rising ike that of the children OF Israel
comes out Of this sestetto, is the val u trodden down
Switzerland. This over. storms Is painted. Hs very
badly mned being merely hury y-burly. aud suggesting
merely IT, that however it Is OIL the same plane
with the longer and elaborate storm ia Beethovens
Pasoroie which, az tempest painting, Is also bad The
storm of Rossln overture is followed by delicious
pastoral movement, when the Corno Ingle,e-English
Horn a. il oal;ed-though i but larger hautboy
Of wood, with a curve. This IS Swiss all oyer and IS
as beautiful az Virgil Bucolic, Goldsmiths
Vicar. !, is succeeded by trumpet blast and
military pas, crowned by dashing finale, which
electrfes the auditory. The opening chorus too IS
beautiful and may he studied for the suggestive man
ner which it brings mp rural smplices, in manner
equal to Longielloss Eyangeline. The heroic duet
and trios which foOW-tle manly martial stun OF
which they are eomposei--the stawart grief OF the
tcnor-are all object, Of value to the lyrical con-
noisseur But it is not our intention to analize at
length the opera having already done that, when it
was first produced some time back at the Academy.
The study of such producion-weak as the plot is
must benefit the taste Of the city.
The Opera al Burtons, was most notable in intro
ducipg Mad. Colson to the public Repeated hearings
OF this lady confirm first impressions. Her voice Is
sood without being great her method accurate; her
style elegant. In the periormance-the entire acting
Of such part 81, La Fgio--ahe is the most satioiac
tory of any one who ha. appeared here. Greater
voices do not imply 50 good "a ability TO sustain the
character throughou, with uniform c'earness In the
7oriafg too, Mad Coson is the best representative,
as a whole, have had, in the first and second acts.
She has not the tragic depth flashing Of Mad.
Gazzaniga. who now, since TIL ieclnation of Grisi,
has probably no equal the stage in that capacity.
But Mad. Cosou sings we'll evenly. and rounds her
periods with finish worthy the school of Duprez;
and She never sights any The least detail Iu this lat
ter particular she -trrly French.
Mskame ID Aneri, the magnificent Contraito. Is in
the city. and why hot in the opera bills Is wonder.
For. if great. sympathetic, cultivated voice entite
an artist to hearing, she has those qualities Ii such
.Lal At I'M ~ he
.ome characters Size has no, her equal in Europe
The favorites, Briguoli and Amodio go to Boston
in the S;rako,ch Company. Brgnol never sang 80
well. ami Amodo revealed his customary wealth oi
voice with improved ease and effect.