New-York tribune., 1867-04-10
bNTSN.

BNTSRC
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The English Opera has invited the pubho to
revival of The Epcbanirsss This is an old sparged'
spectacular fa7orte of popular class Of hearers who
enjoy as much as possible such b9ladized e%trava-
CANA told out IN the mother tongue. It IS an
elderly work Of the composero Of JIe BohemiGn Girl
and The Rose OF CASTLE both OF winch nave been am
bltiously rendered here by ne ldchlaes CoA,P,iS my
One of these sfories takests human tone from gyp
ses and the other is devoted 10 muetoers and kln,
dred spirits and. similarly, The EchGRbS6 IS Ioyal
10 the black fac, and is chOrusSed by pirates
Queen of outlaws, who Is supposed TO be an, en-
ChantTeSs a THO of desperate fellows VINO sing Ill-
tone and bass semi-buio conjurer q haIInIess,
necessary ballet, and q family OF needless demons
disporting their brck-ccOred tghtnesses, III
gTOttOes pendant with roseate staiacLte OF uiIP-
ping. as it were, with hues OF tncA pater altst
and pium-tree gulns-these c9ntuO11o nohiob
skelter 10 the dazzling hodge-p0dge Wnij WniiGjn
We know as The Eachqatrcs$; A TespeoL5ldHadj
orchestra conductor in Philadelphia mas az a4tss ~
n prsposterous prologue to The original score ana tle
opera IS accordingly advertised rs ne prouxUt0u pl
Balfe and Cmnington. Who Is Cupmhgton lne
pSopiff People h"YS tSat oeen he 'N K ca Very worthy
man the leader Of some busy musicians for this score
of wears but nOwise competent to invent moving
strain to amend q toiei2ble opera IKE I9e
EHchqphess. Hence, Mr. CunningtOns mobile
hut emotOnless prologue has made Bate
not bettcr, hut worse The alliance is OF coulse,
great deal more honorable than the SiakespeTcal
association with Nahum Tate; Tor there are no emu
of Baliish, ballads TO remind us that tGeT tL
sentimental creator is many-sidcd genius,
There is Mt least one of Balfe'S airs which Cnn-
nineton might have written, though we hesitate 70
subscribe TO the reverse of this proposition. Lest It's
striking commonplace should not be at once recalled
by the reader, present 1t IN the shyeTlng prose
of the libTettO. Sings the EachdatresS with Gaea-
phOOy Tor which we SHAH not hold her responsible
"Ny presence still in calm or storm
Aud learn that If ehsSge my form
Inever change MY heart"
A. without much impopricty Flotow's chgfqrr6
might be better described as Martha or the Last
Rose of summer, so Bales plaGcal romance Imgh5
be explained rs The EnchdnfJrss or Ever be Happy
This easiest Of clever ehOrSes permeates the work,
and is its ready and abiding spirit. 1t can be sung
again and again on the slightest proy0catOn OF
encore for where is the chorus that would not ven
ture to sing It, and sing il with sort Of bass cOnIIc-
zion, and hilarious de4ianee In 1act remeInOTrlnS
the sonbcr bloOlthirstiness OF pirates in general eve
are aStOniShed at the amount Of EEer-De-llappnoSs
which pervades Tie ERehdRiress.
We doubt it there Is any part OF this operac spec
tace more satisfactory than Its first act lheie oc-
ours the sempitenal Ever be Happy (well sung OF
last EVENING" but that IS by means SO goo1
IA composition as tbs finely original ballad
which Sir. Seglin degradeS by bad style
She is seen where the yapors of morn aTlse 70 be
positively unmusical is the one unPardonable SIN IN
y singer 1t was not exactly with that good man
and actor, but poor singer, Mr. Peter Klcmngs.
Yet. altogether, we are astoqHhed tna' a, lius
committed TO no better voices than those OF Mr..
Richincs and Mr. Seguin. The PRAYER in this act is
ably hannonized. piece Of TectatIye rec. Nv IS very
hail air "When this EnchantInent l be-
hold" receives keener expression. In only
number of the opera Is there touch OF; real
ideaty and this occurs in the grOttO chorus, which,
- first we think might have been written by CO.
temporary of Dr. ATne, true musical lllustratOr
81 the preteTnatural until subsequently the Bate
Of the stage STACEY recalls us 10 hlmsolf Except
ing the skillful variations which accompany the
final Ever-be-Happy IN this act. Miss Richincs
has little to tax her powers: until the we'll
known sOug of WOnan's Heart IN the second act.
This is q fair specimen of musical B1lmmagenl and
q is not worth while 10 record any fault OF MISS
Richiugs's spirited rendering. For the rest Of the
opera partof is good and par Of it is mere musical
filling OF all sorts. IL Is popular Tor many reasons,
and win be repeated.
of the two great current themes Of music in Paris,
the English papsIs afford MS s9lae gossiP more com
IlimontaTy of course. 10 Gounod than 70 Verdi Two
acts out of the five of Gouuods Romeo and Jet have
been reheaIsed the fourth act IS reported to be sim
plv splesldid and the Judgment that predicts
another success rs brilliant MS FGWSf does not to
he far wrong. Verdfs Don Carlos with Mr.. Ohm as
King Philip Faure as the MdTQgis0 Of Posa and Malere
there is slrewd suspicion that the want OF
tho popular element Characteristic of the
,aaeslros melodTamas ronders the present work
s.o SbcFb bs b PefG ac Is sa5 81 to [Gs a eoafo e ao1s e
iuqusjtOTial scene in L4Gfcrre and u this be the
case. there viii surely be no lisL if 7r. MaIetzok
ygoduogs it here On the whole says iesiet written
80 The london ICgTcph, the music Is rather seII0ns
than Dprdesgge. and therefore the permanent pOpu
larity of the work is questioned. Faure has not
great palf but a good one. and sings and acts IL mag
nitjceltlv: and Madame Sasse and Madame Gainald
IN the fifth aud third acts have two splendid NOR
oeaRr Being asked il it would be great
1aeg Ists very gfoo '"4ge VINO not was an oSera
by Verdi. should say certainly
From Ibis it is 10 be inferred that DOa Closis more
or less sicccsS-an inevitable one TO be sure be
cause Verdi has nut his autograph 10 it. and though
he NAV have failed 20 do II grandly. has not written
il badly. EoI all Of tieso reasons We may venture
Ecrdan share Of favor whenever it is brought ont in
NeIlOrS. "