The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1866-01-03
ADJUSTMENTS.

ACADEMY OF MUsIo.-Meyerbeer achieved, as IL
wtre two regulations living two distinct artistic
Aves. In hie youth, being rich and OF leisure,
he studied music with the enthusiasm of an amateur
and, deeply mDuod with the works Of Rossini began
10 compose in his style The result of his taste and
his lstudies we're two Italian operas Mar0dTftG
dArjoa and u Crociato in Egitto. The first had
only mediocre success, but the Orocato, in its day,
was emins emily successful. Mabran. Pasta, and
Velubi all sung in it on its fret representations
IN Paris and London. After this Meyer
beer became imbued with veneration
for Weber and studying still more produced Robert
Ie DiG5ie and les Huguenots, thus beginning new
reputation, which IS the one on which he achieved
the fame which will carry him to posterity. Now:he
has said his last word his genius has eliminated he
can do no to reverse the fat the world to
increase It, Perhaps his iame's sake with pos.
terity it would have been as wen had he rested after
Robtrt, and Les Hugnenots ana Dinorah. L'.Afri-
cdine is a work Of consummate art, admirable har-
monies and orchestraton that in itself would su
for the delight those who listened to IT, whilst lis
profound study for all students; yet far as the
general masses to give Judgment, we doubt
whether they will ever consent to confer popu-
larity on this his last composition.
1t is great work-so grand in its conception,
wonderfully elaborated, that the very finest musi
clan would not presume to sit in judgment on it
Nike stars in the beautiful blue space of Heaven,
main fixed on the memory.
The aria with which the opera may be said to
open by "Inez," Mime Bossio is a graceful,
gentle strain, and was sung well by Nine Bossio,
impressing us avoraby with her, impression
that did not, however, last through the opera.
The whole scena of the council is in the grandest
style of declamatory music. 'Vasco's" entrance
describing his service on the seas is as sublime as
the subject. Indeed, ali that s assigned to "Vasco"
is impressed with distinct character-the charac-
ter of the heroic and the sublime. The entrance of
the slaves changes the character of the music TO a
wild strain, in which the wind instruments produce
thrilling effect. The nae ofthe first act is of
the great morceaux of the opera.
"helika's" sleeping song, the second act, is
gem, breathing still the spirit of her race Althrough
the opera the maestro has given distinct character
isties to each his personages and has mingled
the distinct styles
The duet between "Selika' and ''Vasco' is full of
beauty. The finale is, again, magnificent compo
sitlon though for originality of treatment we prefer
the first finale.
The grand third act is ushered in by a chorus of
sailors deck, and prayer echoed by the ladies in
the cabin below. This produces one of those grand
dramatic points for which Meyerbeers operas are
unique. In this act is the aria of "Nelusko," the
save-a wild drawl, iull of terocious passion, which
was admirably sung by Ballini. "Vasco's" entrance
is again the subject for a grand decamatory ara
The finale with the chorus, is here stupendOus one
of those culminations recalling the grandeur Of Les
HaguenOts.
In the fourth act have for the first time, in the
music and in the orchestration of "Nelusko," pa-
giarIsm from Robert but with grand effect Valco's
aria is again (oh ST dente moll at once grand and
poetica The tremoo in the orchestra fused also by
l)aui III in IN INN no nf
birds) is one of the great achievements and stamped
with the composers genius.
The duet between "Selika and "Vasco" is the
most impassioned music ever written for this most
common situation. Entirely new in treatment, de-
licous in elody, full Of expression it reaches both
the heart and the senses
The duet of the fifth act between the two women
was magnificent CabalettG. The finale consists of
a grand dramatic scene, with lovely strain of
melody all through that is again evidence of the
genius and inspiration, as well as OF the science of
Meyerbeer.
This is but first impression of L'ATricaine. To
sit down in Judgment on 1T from one performance,
would be presumptuous and showing ignorance
rather than skill. Madame Carrozzi Zucchi is a
grand artist of the finest school, Her voice is emil
neny sympathetic; Italian voice. tull at once of
Rentleness and passion.
Mazzolini never sang music that seemr ., .
play his voice. his power, his broad sty' =" 70 uls
better. He and Mad'lle Carozzi we eOi singihS
OF the great work and the gre" ." ~o'Ors worthy
finely comprehended the ~s Oouiposet' n'n'nt pen I
his role. suo' P9~"hHi HnuSi0 Vi
,ooDt;onod p .tsan artist inferior to those above
time anI at pleasing; though sometimes out of
A., +. possessing no execution. Antonucci hav-
q less responsible part, was very effective; his
SOice is firm in the concerted music. The mise en-
scene connects in the celebrated ship scene If we
have any advice give it would be that less com
pcated scene should be substituted for 1t certainly
does not compensate for wait of three-quarters of
an hour to get it ready.
The absence of the mise in Paris is felt in
the last act where Selkas" visions should be Illus
tTated by the visionary tabeaux. The dancing is
course, what dancing will always be tilfwe get q
schools for dancing Awkward dress appears the
Aatural state of the supernumerarics.
The house was immense but the opera, or rather
the waits, were too long. We trust 1t will be pre-
vented in the interest of musician and of the public
and doubtless of the management This evening
PoHuto, favorite opera here, of the melOdiou'
Italian school, will be gwen.
WALNUT STREET THEATRR-SdR's Little Gam
and Faust. The management has substituted Mr.