New-York tribune., 1867-03-27
MUSIC.

prOcty Of poetry and music were more apprecable 1t
would not be thought strange if we called the legend
and music of this universal -Shakespearan. The
arts have a consanguinity and it may be said that
the blood Of music flows in the veins of the true
drama. Bard and master are correspondent IN spite
of themselves, and once in while, to the mind OF
the generalizer it would seem that the harmony
of Mozart gave lyric answer to the dramatic idea
of Shakespeare. AS an idea Don Gioronni is ot the
highest order Coleridge shows us specimen OF ts
fabric as a story but Able Da Pontes semi-antiqne
ibrettQs but the rags and bones Of great suggestion
COMPARED to the body and style with which tho TAR
reaching and manX-sded I'm IMAGINATION @ OIL moSaat has
that will never be quietei out from among men-an
illusion as influential as almost any fact II not isei
one of the grandest of facts. Of the two famlllaf
spirits, one is the sOrrOwful specter who tempta
tristfu speculation to the verge of death in the
tones Of the grave and ont 2f the heart of shadow
breathing words of ice and of fire. nliiCaluIaered
and ,dsPirited ghost nowadays, droned out to to
it We're to execution the voice OF the actor sounding
an accompaniment of muffled drums. The other is
the immutable Fate locked up in constitution of
stOne-the temple in human form of remorSeless
oracle rake insolently knocking at the white
door of death to rouse up the tenant he has murdered
80 stands the conscienceess, gallant Don. A hand
of inexorable stone closes upon the cold heart, and
so ends the medieval story. 1t is the allegOry of
handsome villain who defies his soul till the soul
ayenges itself by shutting the tomb upon him. All
this is endlessfy suggestive, and rcdecms the un-
sGrnp0l6us piety of the good Abbe, who must show
at whatever cost Of the probabilities that legons
of internal monkeys whatever else shall call
themi( in flaming samite-nimble scullions OF
o diab0lical cook -shOp-stand ready to con-
duct every impenitent ,profligate TO feast
wherein he is not to eat, but to be consumed
There is reckless mrth in the Abbes counterfeit
adventures, for he sympathzcs with both sides OF
the stOry-with the Don as well as his Victims; But
the humor is welcome and edifying Wild aud mad
cap almost to the last, the heaviest of chs is at
length put upon it, 1t is crushed out beneath the
most solemn tun-,weight ever Qnarried and carved
from the solid rock Of morality. The superstition of
the plot is relieved in its massive allegory. There IL
the Don, the spirit of whose carOuse is Amontilaao
drugged little with Lethe-an almost .quenchless
agent of jolty and evil; Leporeo the abiect come
dian of the troOp-a character, tricked with stage
artifce bqt trimmed well enough for the reinsprng
score of moaning ludicrously over his per
sonal bruises but still merry in world of
sins and disasters. Then follow the weeping
virgins in black-shal we ever forget their wOes'-
and the melancholy lovers. Lastly, the solemn stoni
ness of the Commentators walks the stage in the inn
mortal majesty of retribution. He is statue of
played no strain like his His is indeed oracle of
music spoken out of the profoundest depth OF art,
uttered from ponderous and marble jaws, and with
the voice of the grave There Is nothing in music
grand in its way the whole passage of this awful
ghost in stone, unless, indeed it be equaed or sur
passed by the abysmal harmOnies of the grave
digging scene in IIdeHO; but of this we cannot be
sure. There are no other instances III which the
effect OF trombOnes, accompanied by all the fine ten
ors of an orchestra, is 50 wonderful. They give
voice of earthquake and resurrection.
Readers of novels will remember the remark which
Mr.; Wilkie Collins, through one of his characters,
makes Of single melody of Mozart. Ii is the BotA,
BATH of Don Juan. which this artistic writer and ap-
preciator was enthusiastic enough to say contained
the spring of all music. But just such springs OF
pure melody bubble up like fountains throughout
the work of the master. The serenade of the Don
model for all songs. Massettos and Zerlinas duett
is the perfection of tenderness and sensnOusness
The mnuet in the ball scene, almost melan
chOly i'll its beauty, because ITS joyous
ness is so profound is music for dreamer.
and students to dance to-. The orchestral part OIL
the work is full of practical and ideal wonders, aud
much of il contains the substance of pure discovery
and innovation. Take the symphony interludes and
accOmpaniments apart from the main work, and we
have "A chapter grand in itself The opening scene OF
the work touches the key of all the work-Tlns the
diapason in fact, of all its character and idea. Moth
ing could be more suggestive and powerful and its
promise is more than fulfilled in the rest OF the
opera.
The representation of Don Gi0ronni last night was
the best. in many respects that we have enjoyed
since La Grange DAngri GasseT. and FOrmes
were the vocal pillars of the work The Orchesrati0n
was careful and skilled ifnOt always warmed by its Op
portunity The esabieo the voices was without any
serious defect and the orchestra and stage together
exhibited the effect of good rehearsal and Intelligent
dictatorship. The scenery alone sometimes 10 I've
complained of. and in this respect at least, Don
GiordHRi had none of the clements OF special re-
yival. good sense of art WAS evident IN the
method of the singing and the exquisite dramatic
passages lnotably the first scenej we're gwen with
some appreciation of those delicate lights and shades
of the harmonic drama Which are the last thlngs 10
strike the minds Of miscellaneous auditors but whose
effect fingers long in the impression upon the meln-
Ory. lit was q good fortune to hear the Don Gt0-
rdani of last night. Add to its merits that
ROncOn made musical chatter through LeOporetto-
the most individual LeOporello that we have seen
The difference between ROncOn and Formes III this
part is the difference between Leoporello who rs
VagabOnd of servants and yalets every inch OF him.
and one who is also factor and fellow cavalier OF the
Don. The voice of the latter is, OF course superior
to that of RoncOni but the force and style 0f our
present buffO fill the part characterisiicay, and
almost brimmngly. The famous m0cklng aria IN tho
first act the ludicrous prayer OF Leop0rello when
discovered in the dress of his master; the scene in
the graveyard and before the statue, and
the musical ague running about the bones and
into the voice of the affghted valet IN the last act
were also instances of the inimitabe pungency and
fun which the genius and experience OF k0nc0nI
enabled him to disil into the character A trite too
stylish in the of the first duet La c ddreMp
Just as Bellini (DOn juan was Unconditional. Miss
Kelloggs Zerna was such performance as ief IIesn
spirits and fine voice could not fail To Offer !;
and what could be more charming than her " Jordi
cdyinOw Some qualification of Belllnls Don Juan
NAV be borrowed from what we have already said.
lie sang the Serenade poorly enough for Bellnl Dut
a more presentable Don is seldom seen on the stage,
and withal Bellini is capital actor. Miss
McCullochs EirFd was dlstn guished for
a pure vocazatiOn lucid and felicitous, and several
times delivered in the true spirit OF Mozart his Is
much 10 say of a lady comparatively new. SgnOr
Baragis Ottdri0 was disguised by Vicious trem0to
but otherwise was good in feeling Madame Parepa
has realized our anticipati0ns. Her Donna Anhd ~
intrnscally superior to her other performances al.
most i'm proportion TO the character Her delivery of
MOZarts superb rectatiye all that could beasked.
and for many years nothing has been heard on our
stage more gracious and genuine than the utterance
of Or sal chi" In the pure melody and ti0rtnI or
Mozart a voice so rich aud true as Madame R0sa's
has its best element and no other performance OF
hers will give the observant more pleasure
than this.