New-York tribune., 1867-05-15
GOUNOD'S LAST OPERA

A glimpse Of Charles GOunods lOng-cheris,oa
treasure, Romeo and Inlet, is at last offered us
through English spoctaces. The world is curious ts
know whether the musical solver of the problem Of
GOethos Faust perhaps the happiest Illustration ofs
universal legend which the century has producedI Is
as subtle sppreciator of the musical possibilities
of Shakespeare GOun0d IS poetic composer, not an
operate playwright. and his station Is with th0Sa
who have enriched lyric literature with impershable
romance. The most ideal themes aSsiInilate 10 his
artistic instincts and il is well for art and tho world
that, like Meycrbeer. he Is willing to give the work
of years to his dreams. IaUst and Romeo are tho
most poetic of legends. In the first GOunOd has
ceeded III popularly rendering Goethe, where tho
serious and heh-minded Spohr and the rest OF tho
tone-tgansators haye failed II we may believe re-
iation. The subject of Romeo and Jaie has
opened to him prospect which the weak scores
of Belllni, Vacca and two or three more have
as n work from the writer's lOye-mlIsc, so Romeo is
cOlored and illumincd. The heart of the poem IL
some such idealizatOn Of passion As the romance Of
the famous garden scene IN the former-a romance
which sounds the Keynote of the masters genius.
Thus advised. every reader and hearer OF Gounods
former work will be prepared 10 accept Romeo rs lts
mate in beauty and power and receive the passion.
ate .JaIet side by side with the tender Gretchen.
The preliminary sketch of the, opera credits its
ShakSpeares version closely There is in the first act
maSduc in the second the famous balcony scene; in
between Mercutio and Tybalt and Tybalt and Romeo.
and the banishmept of the latter IN the fourth, q
grand love scene for Romeo and his wife, and tho
swallowing of the potion; in the NTH, the tomb OK
the Capulcts aud the well l,Temembered catas-
trophe. The work is proloeued with an nnaccom-
panied chorus, taking hint from Shakespcares
own Introductory recital OF the legend Inc mazur.
ka strain to which the curtain rises IS described ~
of those catching motifs so plentltuy Scat'eted
through Faust The music of Capuet is null oi BON
LOD,niP McrCutiO sings his ballad of Queen Blab 70
"a wonderful descriptive accompaniment OF tull
orchestra pidsSimO-One of the qualntest and cley-
crest things" which GOunod has done. The enpaete
to which the curtain rises III the balcony scene of tns
second act Is says the critic OF Ihe L0ndoR fer@!
" a species of Teyerie or rather crade-song III 0-3
rythm. Orchesratcd with the most yoluptuous SOFT
ness. in perfect keeping with moonlight III laoyes
bower, Romeo's serenade which naturally occurs
here. Is exceedingly effective. one phrase Is Iuli
of passion. and will have an immense erect.
sung with the requisite voice. juliet appears az thc
balcony and sOliloquiZes exactly as III the pay.
Romeo announces his presence, but scarcely mas h5
done SO when noise OF is heard ana the lovers 10.
tire only IN time To escape discovery Dy nu1Dei ol
the servants, who suspect that Romeo IS lurking
about The nurse is brought on she has previously
appeared in the first act, and after few comic III
situations that it is her beauty which aures young
scapegraccS thlthe, and choral INVOCATION OF Wiatn
on the heads of the Montagmes. the intnlders go on
Romeo reappealS, meets Juliet, and the anticipates
duet begins in earnest 1t is an attempt-both on tho
part of the librettist and the composer-to realize,
passage by passage, the exquisite picture llmned Dy
Shakespeare and we believe that the efort IL en-
tirely successful GOunOd has managed 10 p0rtrays
Young girls heart in this opera, most maryelously
In the first act Juliets music Is that oi an mgA@;
i'm the second il il still p0ire, but thought moro
tender; in the latter portion of the work II rises
To the dignity which the catastrophe demands
The ensemble of the Balcony Duet, De Get
adieu ii dOuce est la tristesse. Is upon an
exceedingly simple theme IN a, d ums anu IS
worked out in long dc0esceado ON the words
jusquA demain'-sinklng TO mere whisper, tno
effect of which is simply beautiful III mas an tne
poetry of the duet in Faust with more delicate
manipulation. After the long good night the lnstEu-
mental reyere which began the act is resumed piano.
and Romeo rectes prayer IN monotone for Ills love
as she retires. and the curtain descends'
The third act is characterized by eccleslastiCai
music. an exceedingly fine bass invocation for tho
father and a succeeding trio. pretty pages song
opens the second scene and to tins succeed seVerai
long Tccative scenes, ylNldy aud qualnty ucscrio-
inu the duel between Tybalt and MeTcutio and end
ing with a chorus. Men and women throng IN, as
happens i'm the Faust chOrIlSes, and IN noble huODuU
imprecate the feud of the rival houses. Then comes
tho Duk, s pTOCeSSOI-mslc, quite worthy, we near,
to be a companion march to that OF the composers
in this act GOunOd is less individual than IN any
other The fourth act, however, Is crowded with ln'
terest A grand sad duo there occurs, written mora
in form than anything of GOunods. The hrSt en-
semble in 1913 time is very elaborate and then comes
some of tho composers love!lest Writing on the
charming theme of the lark and the nightingale:
The last ensemble farewell Is written largely ana
powerfully. and the whole music of this lncompara'
bio act finely elegiac and dramatic The last act s
artistic aud consistent but asks for no special COM
mont. The accounts we receive OF the work are
imperfect, but apparently sufficient TO Jusufy tne
high expectations and enthusiastic praise when IL
has excited We are prepared TO hear that in the IN.
strumentatiOn GOuuOd has surpassed himself. ana
that the work is " the most concaenated and elaOo'
rate that he has written. There IS no reason
therefore why the latest masterpiece Of the most n'
tuenia and artistic living composer for the popular
Stage should not have an early production ~
America We rest in the faith that when this II
done shall be entertained as We nave rarely oeeu
for years.