New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1862-11-25
ACADEMY OF MUSIC.
Dinorn',-nnd Mlie. Cordier,y Dcbut.


e'iy must be in fact I'D well as in name. The bowl
and dagger of the Italian scbool-tbe Italians have
forgot to laugh any more al The opera-would net
be novelty, if repeated unccer new Name. We
have had enough of that in plots, good like that OF
Lgcre:io. and wore than bad 40 that Of IroOofore.
Relief, in scene sentiment, dramatic construction, is
required by the law which makes variety the ne
cessy Of life not as the proverb imperfeetly says
the spice OF IL.
A very large and brilliant audience was assembled
last night at the Academy of Music to enjoy the first
Irosentation Of NJ. Meyerbeeis atest work, DinOrah
The weather finally favored the Muses. Clear skes
If not concliatory temperature, enabled all,
whether walking or driving, to attend who desired
to 90 80.
The composer Of the opera played last night. nj.
Meverbeer s no longer young man. He is in the
dark autumn of life; but still younger than the Hon.
Josiah Quincy. who says he enjoys life hugely
without the early bothemenis Of love and so-forth,
ard Mr. Quincy is ninety-wasa young man at "the
Court of President Washington TO adopt that won
5errul phrase whatever it means. So we may, accord
inc 70 Iris rule consider VI. Meyerbeer in the prime
of life for we believe he is only turned Of seventy
= nike the charming, genial, elegant MIR. Quincy, NJ
Meverheer does bother himself with lOve-plots lie
FIGHTS his battles ovora9ain. whole generation has
cone under the greensod, and another has grizzed,
since ii. Meyerbeer first began TO write music-to
find the highest expression of his emotions not like bis
brother in peunng ragedesin blank verse-bu' IN the
more indefinite sonorousncss of musical rhythms.
lie was pupi of the Able Vogler, along with Carl
Maria Won Weber, tie great composer Of Der
.f..at- Il
lures who ever came on the lyrical field. Won
Weber stuck 10 bis German antecetents; or, at
least, remained in Germany. The teacher OF Mey-
erbeer told him 10 travel Italy and learn the ant of
composing melodies Accordingly NJ Meyerbser,
being man Of Independent fortune and the ron Of
a banker, went, as lie chose, TO Italy, and wrote
Italian operas. The most noted of these was Gro
ciaio and L was played at Paris and Londoo. Hi
ITALIAN worls ss SUCH were NOT irs,-rate, lave moi
lated on the boards and excited the ire of his friend
snl frllow-student Won Weber. Next we hear Of
/ H. Meveiboer in Paris setting music 10 French
words: and finally after delay, difficulty, aud tradi-
ton says heavy expenditure on lis part TO make The
crooked places straight, RoJet ie DiaJie wa-
produced, and established peremTtorily Lis
fame. The style Of this was not Italian,
nor tItutD, hOf htlAAs tA'lurlftie' DuA 'NsNN
tic. composite Of the three in which TIE
diaJlcrie and supe ruaturasm Of Won Weber, the
brilliant phrasing Of Rossini, and the extension Of
orchestral means 70 sui, French Academic tastes
appeared along with the peculiariiics Of
the authors style, and his admiiable
pusico.rletorical studies. The effect, However, OF
portions Of Robert is insesh: Is it iu.bued Will
the spontsneity Of some other masters. Ihen fol-
lowed another and granler production Les In
gucnols-which was the largest and finest subiec
ever treated on the operate stase-snd confirmed
/, the reputation Of the author. Next enfucd H.
Pyoplle. which, if il cid not augment, did lot eS
( tenuate his reputation Afcrwafds, came IA wofl
written for the Frcach Comic Opera, L'Ef0'ic On
Noyd. and finally Dinorah,' tho opera produced
last evening. Another work given in German!
Slruehsoc, musi be added TO the liai.
Ii will he seen by this tina, NJ. Meyerbeer IL not
quick worker-or not 20 to the know ledge Of the
rubIc. Thirty odd year, for Eve operas is an ODD
con raet TO Tie marvellous iecundity Of Roson wh'
whether II was on the BarJcr or on IFHiam Iof
dalhed OF his leas which tine cannot dim or al
improve, with irePTessible iervor and rapidly.
= in all NJ. Meyerbeers works he takes cara Of hi
orchestra. In lhi- department novel uses Of nsiru
. mens were made by few composers beior
NJ MeycIbeer fret began 10 write f.
! the orchestra. Rossin had upset goo,
many traditions for the orchestra and Webe
: put Instruments TO new poeiical uses. We end il
: the scores OF others Of the second epocl Of h'
classic school hlte more than the usages Of Mozart
time. We ere not speaking now Of ideas bu' u or
chcstral tn tment simply. In D'Horah, Of course
NJ. Meyorbeer max use Of his instrumental palette
according to custom-psning situations by sugges
tive tones when possible The situations are GOO
for special orchestral treatment as will be seen by
tie following Argument
= Diuorah Mlle. Cordieij, a peasant gil Of Brit
tauy, goes crazy as she had a rgb; to, because he
lover H0el CAuodio Lad Ion her on the eve Of mar
ragc The lover did 90 because bis paterna cottag,
bad suddenly burned down and lie was left without
the means Of keeping the said house; and being
persOn Of large imag nation, not 10 gay small brain
be went loosely about at the inseation Of fortune
teller, in search OF gold-a quantity OF which lay
buried somewhere. At this point the play opens
Tho girl ia crazy--ihe lover foItune-huntng- {
pcaeani. Corent,no (Brgnolil, a third party, is Il
be made the means Of the lovers finding the mye
terious gold. But lie will not 90 10 Nh,
dreary glen where the fortunc-teller said the
gold WA I'VE believe we have the plot pretty
slraight-i il a little mudded at best for a simple
storyD-ior lac learns from the crazy Dinorah whom
he takes for a witch that he who frst touches the
gold Jles--such is the legend. Dnorah sees al this
moment her goat IA prims donna who acts well
cross on a crazy bridge over roaring waterfall, and
ebe runs after IT, before the lover not knowing her
in the gloom of midnisht) can stop her. The bridge
Of course breaks. She goes into the water,