, 1865-12-05

It's First Production In America.

The African WAS produced for the first time
in this country In New York, on Friday even
ing Last, BY Aaretzek's troupe. From live
criticism In the n. T. Tl,4es, We take the fol-
lowing interesting musical description Of 1t:
There Is so-called cyestu1e, but 1t b Of
slight proportions A phrase which Is re-
peatea constantly through the opera to Iudt-
cate Iak- Is hero heard Tor tue first time, and
speedily leads to the melody which forms the
Gnnle to the second act. These nlotiri are
played fn several keys and On several fhstru-
mcnts, according to the composets' custom.
The first act opens with scena and TO-
mama for Ines-vcty chaste and pretty.
Ali the music allotted to this character Il ex-
quisitely wrought, but 1t sometimes lacks
inspiration. 4 vigorous ,1ko,7atlk leads to the
Council scene, and is followed BY chorus In
ousncss has seldom. II ever, been surpassed:
It will bear comparison with nothing save the
Bcnediction chorus Of the =" Huguenots, ~ and
even the will not suffer by The juxtnpoai-
tion. Tie entry Of Vaseo TO urge the schema
before the council is followed BY some Of the
ments are larsc, eloquent and manly. The
superb declamatory style Of s1guor 3tazzoleni
we need scarcely add-contributel matcri-
nlly to their effect sclika and Nelusko, her
companion and eompatriot, here come upon
the scene, and give rise to many fine phrases.
AAt uuet, "AtIe Fasco 4uplUles
vokiugly short. The narIgator's appeal
to the council being In vain, hc relieves his
mind by abusing that dull and pompous
body In n square and popular melo-
dy which forms the finale TO the act. For
this luxury Of ycxatjon he Is thrown In ptison,
where We find him in the next act He Is
sleeping, and the faithful SelIka watches over
him. Under such circumstances It Is natural
that she should sing s1umber song, and
equally natural that It should be somewhat
commonplace, Nelusko {barstone} has fne
original and vigorous: signor yellini sang
this and The other music Of his rod with rarn
fire. The map business, where Selika points
out the way round the cape, Is heavy; re-
neyed, however, by beautiful passages such
Us the duo-a very melodions and tender
piece: Tbs finale returns 10 the ornate but
familiar theme already heard In lhc overture.
In the third act nc hive the scenr-painter's
pieee de rsststanee-the great ship, with Its
cabins, Gush deck, mast, sails, rigging, dc.
The effect Of the "eet" Is extremely good,
and repays the inevitable delay caused 81 It.
One is surprised, however, to notice that In
those early days the wheel was used for steer
ing purposes, and that telescopes were quite
common. History docs not record that either
Of these articles wero invented in the time OF
11dseo di Cana, but It Is obrious they ought
to have been. A yery singular aud striking
ma1lncr's chorus opens tho act Ono OF its
pecu1iartties Ia tota1 absence Of form, and
have to sing up TO G in alt. The effect is ex-
tremely good, but not In the slightest de-
Voices, Richly har1nonlzcd and boldly
massed, follows. IN this act n.
lusko gives his wild and extraordinary d.
rection for the helmsnan to steer for the
nosth-a few bars of unaccompanfed decla-
- Inn thar a EfJ1w1 mi
The Srcat sensation effect Of the scene Is
achieved when the vessel turns slowly to her
helm. Qdly instead Of ycering to the north,
she comfortably settles down into a SOUTH
westerly course, to accommodate the Acade-
my of Music. Nelusko sings Storm King
6altaia with gusto-o piece of no particular
merit. The storm comes In due course, and
subsequently, hor.le Of wild Indians, whc
massacre the crew, ard take possession Of the
dlsMnsted vessel. The curtuin dcscends amid
a tumult Of unusual yirulence, aud decidedly
more noisy than anything else.
The fourth act opens With the celebrated
Indian march, lengthy composition, serving
the procession, and as ballet music for the
Bayaderes and Amazons. We all know how
Mcyerbeer excelled In this species Of compo-
sition. Tho present march is full Of rhythm
ctic character md charming effects
o ok nth se coronation II nsssh does not
the Prophete," it is surely not far
behind thnt famous n,orceau. The tenor
aria, o Paradise, Is exquisitely chnste and
dreamy. Indeed, the music Of this act Is SO
superlatively excellent, that It is useless to
speak Of It except in general terms Of praise.
The duet for tenor and soprano has never
been surpassed !; outstanding the compar-
atiye weakness OF the succeeding allegro. 4
pretty female chorus with Glockenspiel accom-
panimcnt) and dance bring the set to a close.
In the ftfth act there Is a marvellous duet
between the two sopranos, In which all the
Inventive skill Of the composer scems to have
been poured out. The second motiyo Is re-
freshingly 1talian in character. We are hur-
ried now to the upas tree-a botanical pro-
duction which Is ashered in by an instrument
tai passage Of great power. se1ika's closing
scene Is exceedingly tender, and tho
whole act Is thoroughly poetlcal. To
return TO the instrumental passage
Just referred to. It consists Of m ant7ante
barely the indication Of melody, and assur-
ed1y no promise Of the stnpendous effect
which In reality Is produced. Tho passage is
afr7etlp in unison THAT Is to say, no octayes
are employed, and embraces succession of
e1crcn notes only. These arc bestowed equal
II among the sioloncellos, the ylolas, the yfo-
carnestness and intensity Of sound Is In this
way obtained which Is without parallel in
music. The elect is perfectly thrilling.
The "AHican'' has been placed On tie stage
In splendid manner, and is cast to the full
strength Of Mr.. Mnretzek's company. The
music suits the artists, who Inst night were all
In excellent voice. OF their Efforts and Mr..
Bergman'a We shall speak on another occa-
sion. For the moment tt must suffice that the
opera Was complete SUCCESS, and that Mr.
Maretzek's lfberality and industry hare con-
tribnted In large degree to insure that