Cincinnati daily press. [volume] (Cincinnati [Ohio]) 1860-1862, 1861-04-04

Failure of waGner's THE
Opera Kissed at Parfs-Its Unique Bf-
feets RidIcnled.
The musical world of Paris has been for
some time awaiting the production of wag-
ner's Tdnnkauser, and, after much delay, il
was brought out at the Grand Opera, on the
evening of the 18th uh, the Emperor at
tending. The Paris correspondent of the
London Times says: ..
write a line at midnight, on coming out
of the opera, to tell you that TannhauseT has
at last been played. II was not very success
full, and when say that, / probably under
state the disfavor with which il was received
by the public; but | feel il necessary 70
beware Of the very strong party spirit which
exists in musical coteTies against this opera.
The words JfdSoO and four, the English of
which IS failure" were flying shout the
foyer all the evening.
Into the vexed qaestion of the merits of
the work, in an -artisticsl point of view,
do not now enter, and whether NJ. Richard
Wagner be q transcendent genius or not is a
problem will be left untouched by the hur-
ried observations which ] can alone of5er
touching the impression produced by the
first representation of this much-heralded
specimen Of bis talent Speaking merely as
cAS VI Viz PublANI Auuob bd1 buhb LIC
performance struck me as terribly heavy.
The action ,drags, is "slow," both in the
literal and slang sense of the word. There
are a number Of eccentric and even childish
tricks, which provoked the most genuine
ironical laughter l ever heard.
Among these pantomime effects l noticed
the bringing on the stage of three live
horses and q pack Of hounds apropos de
b0ttes, strange frOlics, of electric light PLAYED
q ladu in xubito
avenues Of the Black Forest, with the intent
of making her look like a ghost, and un.
heard of screeches on the fddle-very ORR
ginal, but not understood. n,
The concerted pieces of which have
long been known both in Paris and Lon
don--are beyond all doubt the best part of
the opera. In fact, critics reprosch M. Wag-
ner with being so wrapped up in the idea of
his instrumental genius that he leaves no
scope for the voealists. 1t was not till the
middle of the second act that good chorus,
very well sung, reused the audience from its
apathy. l....-.. ..
The great tenor Of the King of Hanover,
NJ. Niemann, who has been in Paris six
months for the sole purpose of studying the
part of TdnnAdNseT, had no opportunity of
showing off to advantage his very pure and
hne voice till the third act. In that he sang
a charming sole, which went far to redeem
the opera, and was the only piece in it that
the Emperor, who was present, vouchsafed
to applaud. ought to add, as faithful
| chronicler, that the Emperor laughed as
much as anybody in the house at the eccen-
trio effects above alluded to.
In the last act the heroine is brought in
dead upon an uncouth. looking hearse, which
incident gave occasion to various guodiibes
about the death and burial of the opera.
Notwithstanding the presence of the En-
! peror, there was a great deal of hissing--a
| thing quite unusual. To the customary call
| at the fall of the curtain there was a great
| deal of opposition. The Emperor good ma
turedly stayed till after the majority of the
audience bad left the house, aud when the
four principal performers at length ap.
peared, his white kid-gloved hand gave the
| signal for en- ouragipg them under difficult
| circumstances.
1t is essential to mention, as an incident
in the history Of TdnnhduSer, that its per-
| formaDce in Paris is entirely due to the pa
tronage of the Queen of Prussia, whose good
offices, through the Princess Metternich
overcame the opposition of all the maguates
whose voices are usually listened to when a
new opera is in question.