New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1867-11-16


mination. Romeo Pancanis Mercutio BenvOho'
and Others of the Montagues, now enter, having
come TO the feast unbidden and disguised; ana Mer
Quito tOrlandnD. in reply to a remark OF komeos
that he is troubled by dream, sings the
Ballad of Queen Nab" the fairies midwife
who comes in shape no bigger than an
agate stoner the words, of course, beng suOstah'
tally a translation of the well-known description III
Shakespeare. Here, again, memories OF faast crown
back upon us the music recalling both tine urlnhns
song and the serenade of Mephistopheles; but It IS
strkinolv original composition for all that and des-
tined to be heard from the manly Threats OF ROBUST
bassos and barltones from this time forth forever
mare II is fanoful in form, it ought TO De- OK
nressipo the gayety and free imagination OF inc
oem as perfectly thought was ever YET eHpresSeu
Ia purely musical notes The accompaniment, run
ming riot in freaks of fancy. and caperlng ABOUT INC
melody like a frisly sprite. is Ike music ulrect
from fairy-land. SgnOr Orandml' we must hot
omit TO say enters we'll into the composer
meaning and gives the song neatly ana eiiectvey'
A canital hit of dialogue follows MeTcutio and the
Others bantering Romeo upon his desertlOn OF MS
ouondam mistress, RosalIne. and the friends then
retire and give place to Juliet and the nurse, Col
trude NIadame Fleury), between whom we have
few bars of rather ineffective reciave. This, how
ever is only Introductory to crisp, delicate areta
for inlet in waltz time, which will undoubtedly
become the most popular air in the opera though II
Is by no means the best To the music of this charm
ing waltz glimmering feet must hencefOrth whirl
through the mazes of the ball room in every part OF
the dancing world, and, while we write, 1t is
haunting the dreams of hundreds Of the light
hearted damsels, who nodded their fair heads
over it last night, and appauded with pleased
smiles and the soft patting OF gloved-hands
Miss Hauck sang it charmngly. The notes fell from
al and Ina hpa
-snatie runs were given with absolute correctness.
In this arietta the harp, which is literally used
throughout the opera. has some very striking pas
aages Romeo returns on the conclusion OF the
waltz and tender interview between him and
Juliet gives occasion for very sweet duet simple In
rhythm rich in original and ingenious phrasing, and
breathing the very soul of chaste love. The en-
trance of Tybalt (Sig. Testa), Paris Sig. Neldenl
Mercutio and other members of the house OF Capn-
let brings about the discovery that an enemy mas OD
tained admission TO the festival. Romeo is recog-
nzed for Montague by his voice. Tybalt cries out
for vengeance: but old Capulet calms the tumult by
repeating his invitation to the dance and with
recurrence of the spirited bass song and chorus of
she first scene the festivities are resumed, and the
curtain falls.
The Second Act containing the balcony scene, is
appropriately prefaced by short introduction OF
great tenderness and beauty principally for vioins,
with harp accompaniment. Romeo is discovered IN
.luliets garden-a scene which has been arranged
with great care and regard for detail to which we
are little accustomed on any New-Iork stage except
that Of Walacks Theater, A passionate eayatlna
brings Juliet to the window and while the moonlight
streams upon her she answers the woolng OF her
lover in am exquisite duet which unfortunately pro
vokos comparison with the garden scene in Gounods
better known opera To say that it is not equal to
the latter is not to deny il high praise. There
il perhaps no part Of the work in which
the characteristic distinction between the music
of Romeo and that of Juliet-the intensity
of the one and the purity of the other Is more ad
Iallv maintained. The interruption of the meeting
by the arrival of ROmeos servant Gregory lSig Oar
ilij and a number of his friends, searching for the
tuant with theIegulatiOn stage accessories OF cIoaks
and lanterns, cannot help regarding as clumsy
intrusion although the chorus is dramatic and agree
able. 1t was well TO have some break in the long
drawn sweetness of the lovers duet but the inter
ruption here has no logical sequence The duet rs
afterward resumed, Juliet appearing not upon the
balcony but at the dOOr-an arrangement which u
no doubt much more convenient than the traditional
one though it CRATES upon our sense OF the
fitness of things Tins second part OF the
duet is one of the finest passages in the opera.
Passion kindes; love rises to rapture; there Is de-
hcous parting scene the closing bars OF winch are
especially delicate; and then after juliet has retired
Romeo brings the act TO q close with charming Int
tle audante,
.sleep dwell upon thine eyes peace in thy breast
Act Third is introduced by a fugue, followed by
short and very graceful passage for the clarionet
The curtain rises disclosing Friar Lawrence Signor
AIedini) in his CELL where he is joined by Romeo,
Juliet and the nurse and unites the lovers in mar
rage The invocation Of the divine blessing IS
magnificent scene, and the sOlennity and grandeur
Of the music finds competent Interpretation in Sig
nor Mediums fine sonorous voice. The Orchestration
of this part is to be especially remarked The prayer
leads into a glorious quartette, SdHto placer, IN
which occurs striking passage, Do al bonita TO
which there is O return in the last scene OF
all The whole of this part is extremely impressive
The scene now changes to a street in Verona where
Romeos page StephanO lSignOra ROncOnil enters In
search of his master. This is the only important de-
arure which the librettist has made from the text
of Shakespeare, except in the way OF unavoidable
omissions and condensatiOns. Stephanos canzone Is
fancful and agreeable composition, with phrases
of well-marked and easiy-remembared melody IL
Is interrupted by the arrival OF Gregory and other
retaners Of the Capuets who take exception to some
words in the lads song and bring Oh quarrel
Swords are drawn, but the combat has hardly
begun when Romeo Mercutio, Iybalt and
other leading men of the two factions, appear
upon the ground and espOuse sides. Mercutio and
Tybalt are slain, and the Grand Duke muller
arriving at that moment sentences Romeo TO imme-
diate exile. The dramatic characrer of the music OF
this scene is beyond all praise. The chorus RACES
with the fire of battle surges, and sways TO and fro,
aud above all is heard the fierce passion Of the chief
cOmbatants. But ROmeo's cry of agony at the SEN
tonce which separates him from his Juliet is tame
ii II m gfi nal Ia n