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

ACADEMY OF Music The Magic Flute was
thought by B ethooven to be Mozart's finest opera
The Instrumentation is the very perfection OF har
mony, and tie melodies have all that purify which
no modern master excepting, perhaps, Weber, has
approached Like Weber, Mozarts genius was
poetIca or rather ePgiac; tender sadness breathes
through all his srains yet in 1he Magic FIate the
comic character OF Papageno" has LIGHTER
music that is gay, but cannot come under the demo-
mInaton of the opera Dutfo of modern times. Yet 1t
is stran to trace the profound study that Rossni
made of Mozart, especially studying THE Magic
Flute, and applying ii TO The Barbiere.
he grand ara VI LARGO al FactotUm" Is to be
found in solo of Monastatus" and all through we
have snatches that recall the more modern opera.
showing evidently that Il ossini, both IN melody and
construction, at least remembered TINS score OF
MozaTt's. This score has the highest soprano and
the lowest bass part ever written. The two airs OF
Not only docs the music reach to ID in alssimo but
it remains almost away on the higher register
The execution is most difficult aud Intricate, more
wonderful than pleasing, but IN the taste the day
in which it was written Mad'le Naddl achieved
this most difficult task with great success. Her
voice, somewhat thn "a high sopranos are apt TO
be, has, however, q pleasing quality; her execution
was correct and tasteful, there the east ap
peaanc OF STRAIN on the voice. even in the highest
passages that were written rather for the hute than
the VOICE. ....,
nearly q tone lower than the standard dapason of
the present day. so that the voices of the present
day are unnecessarily strained, for the airs might
be tfansposed without injury to the score Mad,le
Naddi, though Yery Young Is an artist OF great fin
Ish and evdently we'll educated Tor the stage. Her
performance was g. eat success. Hermans as 70
roastsr," gave the grand aud dgnifed phase of his
talent. Ills voice IL full OF power, never harsh
depth and breadth alone of tone are used to give
force and expression. lie never shouts or strains.
Calm and grand Herman's sung the sublime
so os Mozart has written as The language OF tue
great Eastern iosopher, with perfection that i'm
pressed the auderc with feeling OF completeness,
such we feel when gazing on one of Tuan'5 grand
portraits, q whole biography III themselves. His
voice is a wonderful organ for lis evenueSs-neyer
losing quality IN any portion of ITS register. The
marvellous low notes that few bassos can reach
were given to US round and full Himmer knows
row to sing Mozart His style is smooth and melo-
GiSGs as the music of the master he SIMS His
bearing and presence on the stage are perfection.
Few tenors ever wOro the classical tunic and toga
with so much grace.
madame JOhannsen, whose voice, excepting in
one passage most powerful and true, is also one
of the artists who musicallY of the high school
that can sing and give effect to Mozart Stei necke
met the approval of the audience as "Papageno."
His voice however is more veiIed and thick than II
was last season. He sang the popular duett with
Mad'lle DZiubia, one the Germans ldehght in, with
much effect and was encoTed. The orchestra gave
full effect TO the del cous INSTRUMENTATION, with all
ITS numerous obligato accompaniments
The opera was most satisfactory performance,
showing the superiortS In musical education OF the
German over the Italian school. The plot OF the
opera puzzled many, it is evidently sort OF Operatlc
froemasonrY, treating OF the mysteries or Iris and
desilnCd to remain mystery to all. III IS 10 DC re-
gretted that this oveiest OF music should not have
Hbeen married" TO some interesting 81 ry. Thls
1yeung harttd will be given, with the addition o
HabeInan's celebrated q ria of "Robin Adair."