The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1868-11-12
MUSICAL AND DRAMATIC.
"Barbe BieueD

The last instalment of Ofenbach with which
we have been favored in this city improves as
we become more familiar with it. As we have
already remarked, Il is characterized through
out by the peculiarities which stamp Offenbachs
scores with an individuality more marked than
that of any other prominent composer, with the
exception, perhaps, of Wagner, the musician Of
the future. AT every stage in the score the
striking features of La Grdnde Du1hesse and
La Belle Helene are repeated, the most promi-
nent of them being that remarkable transition
from the lower to the higher register which can
only be effected by the interpostion
of sound closely approaching
half.suppressed howl. 1t is not high
art; indeed, to the critical ear it conveys the
impression that the composer is deficient in the
resources Of high art. But it is very taking
with an audience that is bent upon being
pleased with every musical atroclty that
Ofenbach has perretra.ed; and, when accom-
panied with the peculiar expression of feature
and pose of the whole body which are affected
by both Tostee and Irma, it never fails to please
the fancy of the audience and to elicit the most
uproatiOus applause.
The repetition of Barbe B cue reveals several
attractive strains which are insured popularity
by the time that we have seen and heard as
much o Bdrbe B cue "a we have of La Grand9
DuohtSSe. Most prominent among these arc the
aria sung by "Boulotte," near the close o. the
second act. commencing with the words,
"POnquoi gu lis M font fouS les groS geur!"
rendered by Irma in the most captivating
style; aud the legend of blue Beard, ia the
first act Ma premiere femme eS' 70 rte" into
which the rollckiug Aujac thro rs alt the jolly
earnestDess and humorous pathos of his true
II. ~ -. Il Al. lo.l.
these in point of intrinsic merit is the
ensemble in the third act "Brigand, ma
2eunesse" and "Amou,S nouoehes," to which
full Justice is rendered oy both Irma and Aujsc.
The situation Is one who calls for an unusual
display of vocal and hislrionic power. blue
Beard,r inspired by his new love for the
"Princess Hernia" announces TO 'Boulotte'
that she must share the tate OF her predecessors,
and does 1t in the most tantalizing way, as if
the rapid transition of his affections were at
once an excellent joke and harsh decree OF
fate. 'Boulotte" at first accepts the former
bearing OF the case alone: but when she is fully
convinced that there is IA terrible earnestuess iu
her unprincipled spouse, she assumes the most
vehement style, hurs the sharpest invectiyes az
her fathless and cruel lord, and pleads her
youth, her tears, and her woman's weakness
with grand effect. This touching scene is inter-
preted by Irma and Auiac with ferVor aud
artistic taste which impress their auditors with
high sense of their culture and powers. The
accompanying score is not remarkably difficult,
but it approaches the standard of the school oil
true art more closely than anything which we
can no " call TO mind in such of Ofenbach's
productions as we have listened to. In the
midst of the composers trivial brillancies, the
whole scene is a rare gem. which can be all the
better az preciated by reason OF its light and
sparkling setting.