New-York tribune., 1867-09-26
MUSIC.
Rossini's Ote1lo is not 30 nonul,r,v

ROSSlnlS OtetLO Is not 30 popularity we'll
known opera, familiary shakespearcan that
readers will not be interested in a of Of ih
eccenrictes story. Let the first act suffice 10 ex.
plain the line of demarcation between Rossn Shakes
peare
The Is in Venice The act opens with the arrival
OF Othelo who returns conquerCr from Cyprus locking
forward TO meet his beloved wife Desdemona
Rodergo, rich yenitian. has in his absence paid
her, ignorant OF her relation to Othello He is
tanned in his suit by her father Elmiro who hates
the Moor and idolizes his daughter. Upon the
arrival Of Otbello R0derigo is tormened with alter
nate fear and rage, but is reassured by the
perfidous Iago who apparently is his friend but
who really has at heart only the advancement Of
his own interests. Desdemona, iDferrng from hcI
fathers words that he fayors Oheo allows herself to b.
led an apartment in the palace, where, to her horror
and dismay she finds preparations being made TO cele
brate her nuptias with Rodergo. Refusing to become
unfathful her beloved she is enaced by her fath
and mportuned by Roderigo, when suddenly Othclle
enters and claims his bride. RodeTgo aud Othlo
exchange looks Of mortal erceness tenor lyric replying
10 tenor robuso, DesdemoDa at the same time being
overcome with anguish and led away by her agsrieyed
parent In finale, the chief element Of which in the per-
Torrance Is SignOr Antonucci's noble basso
Fancy the Roderigo and Othello Of Shakespeare In
duel each firing OF yOlleys Of embellishments at the
oher-volleys Of course, like coyel in Carnival
time than missiles Of wrath! Yet otheo about to
cludp his enCacemcnt WIN NHcIl OcSCtinODd
appears in lyrical Mysteries and for time arrests the
boodshed intendent upon Rossini's melodramatc but
nevertheless amabe crotches and quavers. THIS Is ali
that we have to do with the plot OF Oeo The last ACT
IS in rule and death comes to relieve its suffering sub
jecs in the good old way sacred to the more proians
stage where the OF Shakespeare is only an actor
Rossni's opera certainly merits the qualification Of
qrad in the theatrical IL is tragedy in higher
than yerdan point OF view II for other than
the prodigaI opportunity which affords for vocal execu
tion-the disciples Of Beethoven and schumann would
cav musical murder. Otheo measurably meloGramatc.
though less Extensively than some OF Its noisier
cotemporares. 1t Is a musical tragedy, tben' In
high and grand Italian, carried to fascinating
delirium Of treinolos and roulades, and all
manner OF bravura But we do it injustice If the impres
sion be conveyed that whole it is poweress or trv'
ia ROssn eminent In some respects too great a.
stage-master to either energy or baucy or tha'
seductive combination Of both which we call elective
ness the formidable Of this word OF popu
lar meaning II must not be forgotten In rating the
great Italian that he has fertility of invention thax
Meyerbeer, inspiration face and sweet as cre
ator and not upon the whole, essentially his inferred
as a Of the orchestra. Othello Is work of TO
dundant energy OF extravagant fancy rather than one
OF absolute and legitimate power Desdemonas ARIA
(sung with remarkable skill and purity by Madame Pa
repa) are instances in point. Nothing could se
more brilliant and snowy. Their fancful ingenuity
without limit So too with few OF the airs Of such
sober character as Otheo His passion eaboraes itself
In the face Of and DEATH with tremolos long drawn
in linked super-sweetness The parts Of OetIo and
Elnro contain number OF majestic passages IN Ros-
sinls highest mood witness the opening recaye OF
the former, detained with much dignity and
power by our new tenor robusto. chorus, sound
and strong Vira Ooo increases the stateness Of this
Introductory but get hint OF the fatal decline OF senf
ment In the solo, An! s. per rot.
The following passage (resiio Mdggior1 is much trues
IN feeling but the next the decline. The ten
drills Of the masters vinelike song downward ana
upward again. but steadily skyward He can bs
oxtrayagant in his wealth Of invention, and sometimes
beautifully emphatic in his Of it, but it takes him
among the vineyards and the gardens-hardly to the
stars His Instrumentation Is occasionally very fine,
peror almost any which the italian stage Affords but
pomp fails 10 conceal his want Of elevation In
theme. Desdemonas grief ia galy bedecked, and how
cry with the vangories of embellishments The jealous
Roderigo is fearfully and wonderfully tremulous and
orid SO much the better appears for signor Barag
all OF whose vocal aecatons the school OF Rossia Is
Immediately responsible for In short the maestro Is
great genius, but, muscally speaking grand dandy
With regard the merit OF last nights performance
few words will suffice. The score literally cut, but
so much OF t as sung general most acceptaby
aud admirably fulfilled. The tenor robusto Signor
Pancan acquisition Of high respectab!lity and VIII
mpress the public still further in a range OF the
best roles OF Rossin, Meyerbeer, and Auber
SignOr PanClni has voice OF sustAuco
power and OF noble meaning in passages recitave and
dramatic and I'm his more lyrical moods is scarcely less
acceptable than OF greater delicacy but less man
Lness and dignity OF action and expression His voice
and manner belong the maturity OF tenors heroic ana
he is evidently singer OF intellect the best perhaps, MI
Maret5ek has offered us in number OF years. Mad
anne Parepa- -Rosas brilliant execution OF very exciting
role adds new laurel to wellwon honors well worn OF
the recent appearance OF Peralta in Puritani. this
much at least we must recordthat 1t was as great
success as ever in point OF yocalzaon, and that was
artscay sustained by the lyric tenor Anasasia To-
morrow evening in Brooklyn, Don G0rdIln, which VIII
also be given for the last time in a matinee
A most telling feature of the Diocesan Con-
yention held at ST. Johns Chapel Trinity PARISH yeser.
day was the admirable selection and performance OF the
music We DO not at any time remember 10 have heard
this particular school church music executed with
moro precision anu effect With choir OF some 80 Eo.,
Corporation Trinity Parish TO ST. -the CatedI
service of the Episcopal Church was sustained ~ nm s
Glory This kind OF part-wrtng was NJ Its zenith during
the 10th and 18th centuries. The learned musicians ot
the Anglo Catholic Church Wed with one another III ins
production OF some OF the finest models OF eouitrp"ns
and fugue during that period DR. James Narrs was one
OF the lumnaries of that age leaving us among o.sr
compositions the magnificent service in 50 eaDoTaty
performed yesterday by the choir of 81 johns 10 lns
service is set the Ie Dena, JnoIdte, hp1s Ses; aud
creed FOR the morning worshp-al eNeelehily reusseS
yesterday Mt the chapel They superb specimens OF
This composers writings, and which On lhe bngisa
Church. with the magncate and nunc dinittlS are re-
markablc for many beautiful points OF vocal wiring
comprising In their elaboration great variety OF cohlFs
puntal skill and ingenuity The hichy-tralned choir az
St Johns Chapel did them ample Justice This choir IN
singing aud Is happy exemphcation OF the energy and
experience OF Dr. james Peck one OF the organsts OF
Trinity Parish. His tact aud skill 10 e direction oi 'ns
Messiah periormcd twice in week at the festival ut
the Trinity choirs Ia still fresh In the minds of many Az
that time he received the unqualified approval oi the oeS'
art critics In this city.
We have time to dwell further upon this interesting
neroruauce or YESTERDAY but would briefly ala that
the Anthem. taken from the Messiah " Comfort ye my
neonIr EVrry valley shall be exalted" lbOth sung very
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