New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1867-01-29
MUSIC.

English opera still keeps tho metropolitan stage
with scarcely varying success, though the French
and Germans have, for a time made exits more
abrupt than becoming The Germans onered as
usual the most generous and sterling repertoire, ana
this with well-meant effort which contrasts
reproachfully with discord behind the scenes ana
poverty of management-tOO frequent accom-
panments of the German fortunes in competitive
wars of music After so brilliant production as that
of Offenbach's Orpheus, it is a wonder that the
French Opera Comique, with its wine-ke spirit, and
half-inspired artificiality--should have so sud
denly dubbed out. We had reason to expect more
from both these schools of music; study and enthu
sasm from the one, spite of mediocre singers, and
wit and gaiety from the other AS it is these more
experienced and CHARACTERISTIC operas have
gone out of business for the time being.
and English opera, with Its able-boded
commOnplaces, rules as it never ruled before.
The " Rose of Castillo" as gwen last night az the
Olympic Theater is almost n novelty. 1t is one of
Bales later works. may perhaps be Judged from
its choruses and instrumentation These show
plot of the opera may be suggested in few words.
The Queen or Rose of CASTLE takes the disguise Of
of Portugal, who, in the character of a mneteer,
seeks to discover his mistress without himself being
known Incidentally he Oyerhears conspiracy against
the throne and this piece of news lends interest to his
encounter with the royal peasan-gTl. Certain trail
tor MOBILES with Don Pedro at their head, appear on
the scene and propose that the supposed peasant by
of her great resemblance 10 Jne Queen Shall
be placed on the throne, while the true Queen is car
ried away TO q convent, the cOnsplTat0rS meanwhile
making their own terms with the mpostor. Inc
royal muleteer reenters IN time 10 cont0und
the cOnspirators and of course marries the Queen.
The plot is somewhat absurd but affords excellent
situations for the music The hbretto contains, OF
course, the usual sentimental wordratlons for popu-
lar compOsers-songs about WINE, clstmeIs
memory, convent bells, grief and so forth. There
is ambition in the composer to express more than
popular and conventional sentlmentallty III MS
melody and the breto is of course adapted TO TINS
fact There is nothing i'll the opera which can lay
claim to very high regard in meodic respect but It
is to the composers credit that his concerted
music is so ably sustained. While his ans
and ballads are evidently poor in INVENTION az COM
few trios and quartets are strikingy wei managed
The solo music, with the exception of perhaps BARI
tone passage does not impress us as new or very re-
markable and yetwe must regard the work. upon the
whole as a success. This success Is altogether uue
to its well worked duets triOs, quartets and tinales
the latter especially Though httle OF BaieS con-
or depth of invention the composer must DC
credited with eclectic talent and dramatic good sense
Auber and Flotow have been his operate models,
indeed he resembles either Of these except occac
siOnally in their forms OF movement. The music OF
Balfc is much his own, qualified by the French opera
the English concert room and the irish melodies we
make particular mention of the Scherzo In the frst
act as something unusual to English operate wiring
brilliant piece of vocal difficulty, and interesting
for that reason and no MORE The trio and quartet
in the same act and the laughing trio III the second
are among the best compositions OF Balte; Further,
have only to say tnat WIN MISS hlChlhgs, Nj;
Campbell Mr. Castle, and Miss Zelda Harrison, and
a fairly drilled chorus, tho opera Is credltably rem
dered.
Three songs of moro than usual merit by Mr.
Henry C. Watson, have been issued by Beer q
Schirmer Mr.. Watson is frequently his own poet as
well as composer as in the best and sweetest of these
songs. "The Rowing Restless Streamlet" Verse and
music are simply and gracefully welded in the
pretty fancy of this song, and flow on together
timpidlv Moro elaborate and only less fresh and
complete as an idea is Mr.. WatsOns expressive music
to Miss Mulochs suggestive words The Happy
Tears Down-falling" We like less than either OF
these interesting songs the serenade, Thine Eyes,
my Love-" the motive OF which IS comparatively
commonplace -
The Same firm publish romance by A. Guerrela, IN
the Italian STYLE entitled He Never Loved Me- 1t
expresses too languid pathOs, but has decided
melody and fervor which will recommend 1t TO good
tastes The poem by Mr.. Willard Is true example
verses to hobble through music. For instance:
He often told me that II loved him
He'd dare the worst fate OF things terrestrial, go
And that the Ove-glance seen through my smluhg
Was the reflection OF Heaven oelestialt
Was ever commonplace thought, IN commonplace
words stilted out in such ntoerable meter
During his season in March, Mr. Max MaretZek
il is understood, will produce number OF new
operas with such varieties as Don Baccfdto ana
Tampa 1t is gossipped 0peratically that new COM
pany of artists is being formed under new managers
that the German opera is not yet dead and that the
will be the production of Verdls new work, Don
Carlos and GOunod's Romeo and Juliet, during the
London season. Both works are said to represent
their composers ably, and we shall doubtless hear
them this season or the next.
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