New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1869-11-18
MUSIC AND THE DRAMA.
MUSIC.
GRAND OPERA HOUSE.

houses and have given performances In tho English.
French, German. and Italian languages. The first Of
these under the management Of Madame Parepa Rosa.
produced operas of which only three could by any
effOrtI of imagination DO considered English, the
others being Italian, French. and quasi German The
French artists whose disastrous attempt at the Academy
OF Music was next in ORDER offered only three works. OF
which one purely Italian. Mr.. II. Graus German
company after four performances at tho Thea
term FOurteenhst being Of French operas and only
one fairly representing the German school, Mr. Marezek
Italian troupe which made delegates from at least
four different countries hasl already appeared In one
French composition is busy engaged in the preparation
OF second, and is expected to interpret two others
during the season. And finally the Richngs Company
tho second association OF English Tor Amecan) vocal
lists we have had here within few monthshas thus far
presented two French pieces Csocalied) English.
From all Of which must draw the conclusion that tho
distinctive titles OF English OPERA French OPERA German
OPERA and Italian opera have lost the only meaning they
ever possessed and hereafter TO be taken only In
dcating the language in which performances may bo
given and not In any definite way suggestive Of their
musical character.
AS regards English Opera especially may be said that
the name had national Specification at all within
the memory of the past two three generations In
cledon. believe did appear 10 one or two slight pieces
Of the old English School, than which there Is none more
pure and chase although Its scope limited but from
the time Of Mabran the present day there has been
attempt to revive them. In the first place they In
volve certain necessities OF voice and training which
could be fulfilled by many modern singers, and, In
the next the public would not tolerate them however
correctly they might BIO presented English music Is In
terestng nowadays, only 10 connolsseurs The period
of It's popularity long ago passed away AS TO English
OPERA there Is scarcely trace Of IL since Dr. Arnestme
Bishop did something toward preserving Its character
but hts contributions ragmentary. and were In
tended TO meodramatc purpose rather than any
other The only pretense for the of the name at tho
present day is found in the works OF Wallace and
Balfe. That it is nothing but O pretense, We
need hardly say. Wallace assiduous student OF
many schools and his writings plainly show the various
influences which, at different times be submitted MIN
SELF but he had special fondness for the English STYLE
Bae, who probably tortured himself with study
of any Sort and whose sole claim TO distinction Ia hs
gift Of graceful melody represents only himself with an
occasional leaning toward FeRch models The operas OF
these gentlemen are always agreeable and often admra
be in spite Of their redundancy OF ballad epsodes-'n
troduced for obvious commercial purposesbut they are
not English. II Verdi to write an opera
to Russian twords, person would undertake
to call it Russian opera. Neither tho
language the birth place Of composers has anything
to with the national character of their productions
Mozart Italian but his operas are all
German On the other hand Rossin. an Italian ana
Meyerbeer. q German, have written strictly French
operas Donizetti and Bellin and, still later Verdi
have endeavorsd TO do the same. but without positive
success almost easier for composer to invent
new school than adopt hat Of nation whose musicai
methods are foreign those which he has been edu
Gated.
The only differences between the performances OF en-
psh opera troupes" and all others the omission OF
Relatives and the delivery of the dialogue IN familiar
tongue As the text is in most cases equally ungramma
zeal in form and inane IN idea we cannot CONSIDER
It wholly advantageous substitution. Ignorance OF an
operate plot is bliss compared with the wisdom
vouchsafed by English translators and authors Ia
| nv hasa
anees is little variety. 1t is something to get even an
imperfect version Of Of Aubers operas. although
the work may not rank among his most brilliant Tho
Crown Diamonds" produced on Tuesday evening at the
Grand Opera House. OF series hastily wrtton at
period when Scribe constantly stimulating the COM
poser to frequent efforts than he was himself dis
posed undertake, and when fame was 90 thoroughly
established as TO relieve him ron the necessity Of ex
cessye xerton Some OF the productions Of this crowded
epoch OF the first order Of merit-for example, Inc
Black Domino" and "The Syren" but The Crown
Diamonds" can hardly claim position With them. The
immediate circumstances Of IT'S production were also
OF nature to inure It's artistic value 1t was 70 have
been the farewell opera Of Madame Damoreau, a singer
and actress of very exceptional qualities, TO whose en-
deavors Auber owed great part OF many or bis sue
cesses The character OF Catarna intended for her
last CREATION but before the work had been fairly put
in rehearsal, the susceptible composer CHANGED to en-
counter that captivating EnglShwoman, Anna Thillon,
who at the time, singing IN French version OF
"Lucia d Lammermoor" at the house now devoted to
italian opera BY what processes of persuasion she
induced the powerful author withdraw the role from
Madame Damoreau and bestow upon her, we need not
here relate. sufficient to say that in due season
Madame Thillon made her debut at the Opera
Comiaue where her sprightly demeanor and agree
able appearance secured her sufficiently cordial
reception. Her musical requirements. however, we're
not OF the highest order aud it found necessary TO
alter or modify nearly the entire TO suit her limited
abilities But even when composing too hastily for his
reputation. and when trammeed by the necessity OF
"wrIting down" to particular performer Auber still
displays the inspiration which genius alone can com
mand and which sought for In vain among the more
preentous Celebrations of most OF his coemporaries
"The Crown Diamonds" will always be welcomed by anu
ateurs although it may not possess the interest OF mas
terpieces like "The Black Domino" or " Fra Diavoo"
The representation at the Grand Opera not.
as whole, particularly good IL is one OF the operas In
which Mrs. Richngs-Bernard attempts most and accom-
pshes that her performance OF heroine
was toerabe we go far justice Will allow Mr. Haigh.
the new tenor Of the company appeared for the first time
as Henry and failed to produce thoroughy favor
able Impression His voice strong and good In quality.
singular want OF freedom in the use OF 1t seriously
impaired the effect OF his impersonation on Tuesday We
are assured that the part not altogether adapted 10 his
powers and that future representations will enable him
to establish better claim TO critical recognition Mr.
Henry Draytons Rebelledo was the completely con
ssent and satisfactory performance of the evening In
acting and in singing this gentleman fulfilled every re-
quirement of his role with admirable fidelity The minor
characters were sufficiently well interpreted by Mrs.
Bowler and Messrs Bernard and Peakes the sonorous
tones of the gentleman supplying In some Of the
concerted pieces place OF perhaps half dozen or
nary BASES chouses aud orchestral
show less careful preparation than those Of "Marana
the night before.
"Fra Diavalo" was produced last evening For TINS
afternoon q repetition OF "TheiCrown Diamonds Is an-
nounced and for tonight Mariana with singer,