New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1867-01-08
MUSIC.

II will appear strange to select class OF opera
goers that German OPERA we have 1t at the Ihaila
Theater with its Gretchenfaced donna, whose voice
is more genial than wonderful; tenor whose artistic
sense and style only redeem thick and heavy IN
tonation; baritone who is seldom more than manly
and spirted though withal good musician; bass
who nj the most seems only careful and clever
should be- after ALL promising success. Yet 1t ought
not TO be at all surprising in view OF the rarity ana
novelty of any genuine attempt to bring the puDhc
into familiarity with the unequaled wealth OF the
German intellect and imagination in music voices
which on an Italian stage would be little more thah
tolerable in the sonnambulistic infancy OF opera
vocahsm, essay Mozart and succeed IN enteTlalnIng
and even instTucting, popular audiences Tue goo4
a German opera does 10 tine curtehV IhusiOoi
idea Of the community IS not 10 DO Ieas
ured by its vocalists, but by its composers.
German opera, such we get, Is popular WIN tie
intelligent German mas5es-nOt because Herr VII
helm Formes and the rest sing IT, put re because Iose
such operas as 1.-The Magic Flute" "fldehoD ana
"Euryanthen sung at all, when the greater part OF
the money and enterprise devoted to operate specu
lati0ns ia wholly invested in the modern stage
masters, is at least Satisfaction, anu 0ot IN
pensates us, by force OF novelty TOT tle
want of certain sensuOus@ Projections when
belong TO the Italian muse and stage. Lacking
better rendition, our German masses are con-
tent TO hear their musical scripture interpreted ny
humbltd ministers deficiency OF great voices anu
an abundance of great music have led them to prefer
music ITSELF above the singer and to be content with
subsisting upon that average intelligence OF m1sl-
cal performance which, it must be admitted,
Is stronger among the Germans than
any other people. With even inferior artists III
individual respects the production OF German opera
seldom fails to afford rs distinguishing merits ot
orchestra and chorus; and We are generally sure OF
hearing apt and appreciatiye musicians II not always
good yocalists. Those who remember Manager AN
schuzs seasons remarkable as no subsequent seasons
have been for the extent and variety Of their roper
torres, and Boosting nothing so much as NeIl-
drilled chorus, an orchestra in ITS true element, ana
leader inspired with his W0rk-wll WlthesS tho
general Justice of our remarks. We are sorry that
Herr Anschutz is not again in the heid.
MOzarts opera of The Magic Flute, gwen last even,
ing at the Thala Theater could not fall 70 AFFORD
pleasure of kind yet we do not know IN what one
respect its performance was better than Ordinary
tie better in singing than the old diluted STRAIN 10
which we have become familiar 1t rs rare that we
find in these werd sisters union OF the graces ana
the muses. as that the German snpernuInerary Muses
have full voices or that the Graces have presenaDe
ankles. But il is well 20 remark that stynsh ren-
dering Of these tros would be the last thing desira-
bic; and there is at least merit OF simplicity III the
Herr thinner returned to the stage as Tdmigo with
all his old grace and expression as an arlSt ana All S
natural defects rs singer 1t would he easy 10 I'M
apine better yOcalZed performance than MS anu
yet be hard to supply upon inc German ss Jag cfor
Madame FrcderCi-Himmer has undoubtedly I'M
proved but her voice. clever in It's medium tones, mas
lost none of the ringing sharpness OF It's more eN-
treme expression. In the charming duet in the first
act which is one of Mozarts maryels of simplicity
and beauty, her enthusiasm of manner was compen-
satiOn
We are not partial to Papagenos whose heads are
In any way bald, and whose mustache and beard are
too express and German: so we are obliged 10 object
10 the makeup of Herr Fomes. Without realizing
the romance of the merry Papageno, his singing was
spirited and correct.
OF Mile. Naddi we hope TO hear more. The part of
the Queen of the Night is blessed With music SO
deliciousy subtle and airy that Shakespeares elves
might sing il. The voice OF Mile. Naddi is much too
tremuous but It's sincerity at least suggested this
beauty The best praise of the general performance
must DC given TO Sar0shO, ~ sung by Mr.. Joseph
Chandon Of the French opera. A calm, well-sus-
famed even bass is needed for the profound dreamy
and powerful music which makes this part one OF
the grandest in all the range of opera The song OF
In diessn hei'gea hdla' win admit anf extent OF
basso-power; and to say that Nj. Chandon sang 1t
gracefully and with careful expression Is the praise
We think due to a clever artist. We shonld have
been glad 10 have heard the opera more fuly ana
earnestly sustained in respect OF chorus and we trust
that the managers will not neglect 10 every means
10 perfect their troupe and 20 satisfy the taste from
which they are todraw their support