New-York daily tribune., 1858-03-09

alto vicis takes - position as.wse, aai !seeeedtu.
keSn the oerulean harmotics, discorTsss IN TOWN.
ruubs OF three and then our notes 10 q very sweety
COZ tented strain, having the following words:
Pia'ssnche que Ia Blanche he5mias
-, ,ase uns yierss divine
~ Va. eblouit nss
XT.Sr, unu. Ortel!e, qieue STAT bslls SC.
The nerest hin, o. stemnine choruss heard a,erwari
The power of coinc den, musical slusion without the
poverty OF twioe.toi tais, Is remarkable. No lters-
ture. no pantipg bea's its broad statements over
again-there must be new .orns and facts. But music
has its da capo, its encore; md the auditor if much
pleased with melody when gi, zen IN the hrSt portion
of composition will I've more pleased at It's repetition.
Indeed the whole theory Of classic Instrumentation IS
based upon such repettons Developments and much
f successful vocal music hesgh not to au equal extent
Let us next mark the song of the old Huguenot
where he describes the Poessrt triumph at the siege
,fRoclele The fife, the drum The crash of eacoun.
ter, the whz of bullet, the rampant Joy OF mstary
triumph connected with religious tsith-suoh faith as
as people had few centuries besk-unciuted oy
doubts, specalatons, or individually in theological
spprehension-these aA sTe clearly rendered III the
coloring aud tones of this remarkable song.
II would surpass orr ke st this late hcIr 20 treat
extensively of the Quasties Of the pieces OF this
colossal work. A good-sized book might be written.
But we would point especial sttention 10 the con-
spiracy scene, the duet between the lovers which
follows IS models of great muscal design and treat
nert. Unsuestionaby, the thurdering rhapsody of
he Catholic monks, mobiles, and crowd, surpsesee in
grandeur anything heard on the operate stage. 1t
ssuperb in every vital requisi.e OF st. The dEee is
not less grand in its character aud had Meyerbeer
never written anything else but these two pieces, he
would have taken the highest place ID musical-sod
hence in expressive, spiritual art
Mr. Ullman cannot be too strong y Congratulated for
the manner in which he has put this work on the
tage We have at last al orchestra in the opera
which is sufficiently large. One with body idllness,
soul. The minimum of good orchestra u house OF
the size of the Academy il sixty performers. VITA
that all the nsertices which lie between the nstru-
ments under reduced numbers are filed out aud the
ear is satisfied with tull repast of sounds. The
chorus was magnificent. Fse German addlt:ea to 1t
was especially vouble, certain and powerful.
We have seen this opera msGy times IN Pare, but
never so well done regards the PRINCIPAL singer
Never at the Imperial Academy OF Paris did we hear
singer equal in the part 10 Madame La Grangei never
one equal to Madame ID DAngri; never Ons equal to
Formes peyer one better than Gassier none supeTor
TO Tiberin except Dupres good in his part as
Tafanei.
The applause was al varisus points vocierous. Much
of the music is of nature which Interests the nearer
but does not excite applause necessarily The Lrihersn
painting: the Iuguenot chorus; the cOntestaton be-
twix Catholics and Protestsnts, are of kind to ex~
cite the attention of every claiming to have love
for music, and a taste for something beyond musical
bonbons; and yet they may not be the best thlngs
to draw forth enc0res. The pieces especially an
ulsuded were Tiberirs first air. which he sang beau
tifuy the Huguenstic recitation and sorg ot formes
the duet between Formes and Madame La Grange;
the finale to the third act whore there il truly mag
nifcent scene-a bridal procession the water, with
IL band of music-as part of the gala; and last and
not least the conspiracy scene and the subsequent
duet As We have never heard the piece 80 well sung
in Paris, We have equally never witnessed so much
applause.
The HuguenOts is an opera which VIII grow with
repetitons 1t is a study, and the move It Is studied
the more il will he found high work.of arof means
edspted TO end of elaborate details. II were to
describe it in one word We should say it is the broad
est grandest and truest historical or high dramatic
opera ever composed. So appeared to think the
singers, for they seemed inspired with their parts, and
they all excelled themselves.
The opera, probably owing to the ow-storm, and
hence the difficulty of reaching the Academy, did not
begin till about ocloek. 1t lasted till i2-fu mid
night. We fear this is too org. fe~ additional
cuts ought to bring it within smaller limits,