New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1864-11-28
AMUsEmRNTs.

otbc, opera OF esual preausOn by Donizet has been
received with so little favor in European capitals Even
when originally brought out in Paris with the finest
scenic cessoiies and remarkable cast it was barely
tolerated and its subsequent performances have never
been more than moderately successful Mr. MaretzeAs
faith in Its artistic value must have been dep ana
strong 20 induce him to undertake is representation
hcre in the face Of its unfortunate career abroad Inc
spectacle Of an American manager seeking SUCCESS
through operate medium which has elsewhere poem
chiefly associated with failure. naturally aWsSehS our
esteem FOR lis enterprise and our admiration ioi us
yalcr. We trust that be viii be adequaie ieNa'uou'
l, is NJ open question whether 'Don sebastian mas
fairly mcIed its untind fate TIE canseS o. is ii'u'e
10 take rank in popular estimation. Win sous u '"c
composers earlier works are not dieo' 10 oo'cc "u'
that an ordinary amount Of consideration should nave
bceh 50 generally denied IT, Is less eaSIy u'uofS"ou'
All the oucras which Donilett had previously written
for Paris were cody received, md while endcaVormS
10 satisfy IN this lis last attempt some OF tie SupPoea
exioepoics Of the French Thcatcr he trusted too little
IN ttoe natural and spontaneous inspirations which are
,e r,ol charm Of his best works 1t was Impossible
for Donizc,i 70 write with sudious care. Ihat piu.
dent maxim keep ycur piece nine years "ouid nave
ava!cd him nothing 1ii5 most successful achie'e'
mcu;s were almost imIromptut. 10 The composition VI
Lucia .oI exomple he gave only siS weeks. Aut IL
Paris be seemed 20 feel Tie nccess,-as hoss'ni ahu
Eelni had done before him-of guiding himself D!
higher standard and shining at more thorough eianofa
iron Of Lin operas His "FayoIiie' md Martyrs
sao,d instances Of this in " Don Sebastian The
orly wolk We believe. which he was called upon to
write Tor the most critical o. al Paris audiences that Of
tine Acadcmy-unusualy careful treatment appears but
the results ore not always equal 10 The intention Long
before the production Of Don Sebastian. Mcyer5oerhad
made the public familiar with tue most c1hnusiiVe orehes'
ra and choral effects, and Doizctis utmost SAl IN 'hs
Nrec,ion--bcs; displayed in tie funeral march ana
chorus Of The fourth act Of Don Sebastan-coHd not
but subject him to disadyantageous comparison The
fact that his more ambitious efforts were OF virtually
inferior order and that lis accustomed uelodious
Guency and exuberance not conspicuoua luslled
10 some extent the Indifferent welcome gwen 10 II az
the ONSET But notwithstanding that II thon disap'
pointed public expectation. and that 1t certainly does
not exhibit the best qualities Of the composer genius
its merits are nevertheless too important TO warrant the
general disfayor with which it has been visited II
is unouestonaby the most conscientious piece o WORK
that Donzeti produced and. though suggesting rather
tie easy influence, Of Simon Mayer than the stcrner
counsels Of the Albc Mattel. it is distinguished
bv numerous welldesigued delicacics Of orches'
trail writing. and here and there. Ivy passages OF
noble breadth and dignity and boldness There ar
few finer lyricodrarro effects than that 81 TIC III
neral march and drums TO which We have alluded; ana
the sSgtetc in the Eth act 80 called alihougA but iou
principal voices used. the other three supplying
only ejaculaory phrases at intervals rs more orongh
in constiuc ion than any other Of Donzc!s concerted
reces that We can call to mind. As a whole without
being in any masterpiece, or possessing rqla
value With some hnlf dozen other works by the same
composer j; has good claim upon the attention oi ANA
tours. Grace and elegance arc ITS character
istics. IT sometimes rises 20 strength and Nlgof'
hut these are qualities which Don.zettfs music
never long sustaiDs Ia the melodies. which are all
more oy less strictly according to tie Italian FORMS am
ple smoothness and fueLcy sppesr, but vc, little IN
spiraiion he only tina; has ever become POSITIVE
r ponular Is The erois cayatnG in the second sc;a
charming exception to the unfortunate s,eli:y Of .he
melodies generally. IoBaIco In .Le third oct and
baroa4oe in the Dfh sung by the baritone ere The two
others which seem both pleasantly ana freshly con
celycd The remainder are not ineffective, but they
have no individuality There is on attempt in the &c
compartment Of bit Of prophetic oratoTy IL the first
act 70 convey weird aud mystcricua effects o. insiru
mcntaiop. which ia not SIt0getEer unwOfthr o! the
purpose: il needs however, only the recollection q
closely similar scene in "Tho Prophet TO discover the
inadequscy Of Donizcitis most toilsome orchestral
achievements. The concerted pieces and ctoTuses aGc
better in the second oci the scene Of which 10 laid in
Africa the indications q local color" aIc very
happily conceived. A chorus OF Arab girls IS
cutie in the rosy aud piquant style o. Aubcr's
Eastern music The ballet melodies too are sufficiently
bright and sparkling The most positive merits Of The
opera begin to appear toward the close OF tie third
act, where massive choruses and dexicrous combine
;ions OF the principal voices orc introduced. Tie
fourth act is effective in precisely thesame manner and
the fifth, by means OF asbFillient tenor and soprano
duct and thoroughly good trio for tenor. soprano
and baritone, sustains the interest to tie close.
The libretto Of Don Sebastian like every other
prepared by Scribe. is remarkably good. The roman
tic story Of the adventurous King of Portugal is fol.
lowed with sufficient accuracy Unhappy love plssage
being Indispensable elements IN tragic opera shaIer
in the mserios Of the King is introduced in the person
Il an Arab beauty Tho poet Camoens is also made 10
participate in the action The variety OF the situations
and tho extreme yyidncss Of the varying scenes afford
singular advantages for operate illustration in every
way II tic labors OF The composer Lad been as forth
nate a. those Of the author Don Sebastian would
have triumphed everywhere.
The audience Mt the Academy Of Music last Friday
evening appeared indsposed to foreign jndg
mcnts The opera vas carclessly receiyod-much more
80 than its own merit or that Of the performance de-
served The fact is that the Academy Of Music audi
enccs are incapable Of IN original expression Of opinion
They are brilliant and fashionable but brlliancy no,
intelligence and fashion is not Acknowledgements Of
all nowadays They equally innocent Of the power
to appreciate and the faculty 10 ccnsuTe. As rule
they are cold aud Indifferent except TO the iayorite
Establishments Of individual artists; and although
H. recoonifion often halls The urodnctiou If nm