New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1864-07-30
OLYMPIC THEATRE.


theatre with the Thermometer near ninety is the
pursuit of Apollo under difficulties. So, sccord.
ingy, Madame Borchsrd succumbed by the close Of
the first act Of Rose Of CASTLE n "Wednesday
evening, overcome by rehearsal fatigues and the
weather. and the audience was invited to 20 away
by the stage manager, getting admission checks for
Thursday night. On the latter night the enter.
tainment was resumed from the commencement.
and played spite of tho mercury till tho end.
The music Of RfCof CASTLE is by Mr. Bale.
1t is called an opera in English parlance-and even
grand opera in the bills--but strictly speak.
Ing according to the Italian meaning of the term
opera, it is not one, but simply musical drama.
more than half being spoken dialogue. All depart.
ures from the italian invention and style Of opera
that u.s. work composed of pieces of music, with
enough rectative to sustain the narrative or 40.
cure at times stately declamatior-lre essentially
barbarous; nor does English, French, or German
custom add to their civilization. In music they
are as sbortive as in the arts of design picture
would be one half painted and the other half en-.
gravcd; or q statue half marble and half ebony or
q temple with half the columns brick and the rest
stone. How the ola podrida got into other Ian.
guages we will not determine. In English il prob.
ably took a definite beginning by mock partial
imitation Of the Italian opera in the early part Of
the last century, when Midas, q burlcsquc full Of
wit, was produced-a medley Of talk, song, and
<chorus.
The objections to the introduction of speaking
into so-called opera are numerous, but the chief
are that the breaks between the singing AID speak
ing are horribly nasty and disagreeable; as no
voice, not even the best can stand such clips and
cadences as occur between the sustentatons of the
singing voice and the gobbling-up of words in the
required manner for English consonants and all
the world of clison with which our language
abounds. Another reason is that yocssts afteI
singing dcclam badly, and after defamation are
apt to sing badly. Another is that if singer be
gifted with fine voice and good method and style,
and is stick Of an actor, his acting is much over
looked while singing, but not overlooked at all
when acting-and hence he subsidies from ar artist
into bore. Another reason is the dreary rubbish
which constitutes about NEUTRALITY-SUSPICIOUS. Of the
dialogue of the socallcd English opera.
Rose of CASTLE is drama the merit of which
lies with Mr. Bales music. The librctto is good
for nothing Plot there is none. The widest grab
produce something better it could afford nothing
worse. The nonsense is laid in Spain. Of course.
There il is of course legitimate thing for Queen
under pressure Of circumstances-to run about
disguised as peasant-girl with maid OF honor
disguised as peasant-boy-and to be voiced and
won by muleteer-and then huntcd-up by trca-
sonable cousin and his party who think it is tho
queen and then it ISM, and then TO marry the
muleteer stc who turns out to be no ass-drycra at
all but the king of Castileso the traitors who had
hoped to secure the queens abdica.ion were de-
fested-and had to kneel and be forgiven as the
curtain fell.
1t is pity that a man Of the quickness and re-
sources Of Mr. Balfe has to waste them on such
words. 1t is pity too, that the publishers inter.
ests in England should reduce what ought to DO
opera to certain ballads with occasionally con-
certed piece, dislocated By quantity Of dreary
bulk between each piece. That music under such
apologies for opera can succeed in establishing
critical love for lyrical art is impossible.
There are several charmingy -written pieces in
this work; but the school does not admit Of the
scope or elaboration of the grand opera, or carry
away the auditor with the dfiire of the scene.
Inc TcHehIshlb Nft llduoiudtcs cpLlc o'b5AHc
was out of tune and some acting astray. We would
urge on every singer, that in dialogue music whore
one has prolonged statement 10 make. TO stands
little in the rear of tho person addressed, so that
the audience and the actor be addressed at the
time. Likewise to employ utra-precision in enrn.
catng the words: without this latter quality they
might just as well be uttered in Choctaw Another
point is not to take yowel-even the right one
in a ford passage and run the gauntlet of several
novels before concluding the phrase. Another Is
not to break notes in two when one syllable goes
over two notes.
The formation Of our theatres is bad for opera.
Thefe is an immense cave or cellar under the
boxes which eats up tho sound fearfully. The old
Park WAS the only proper form for theatre either
for singing or acting. All the theatres now are
bad for sound. Moro moneyis got into them, but
at what cost. 1t would require Oil orchestra and
chorus Of three times the size used in our theatres
to render an opera effective or agreeable to cul.
tivated ear.
Among the artists new to our boards wehsve had
occasion to mention several times Mr.. Campbell.
He has baritone Of extraordinary power, and all
no needs is more familiarity with the stage Mr..
Castle has a tenor of grozi0 which is much liked
and approved by the audience. Another debutante
showing distinct talent is Miss Meyers. hisyourg
lady under proper drilling has the stuff for an artist
We do not deem it necessary to criticise further
and may merely mention that the English or
American company OF the Olympic Theater are to
close this week, according to announcement.