New Orleans Republican. [volume] (New Orleans, La) 1867-1878, 1870-11-27
THEATR1CAEfAND OPERArrC.

us
Juliet" and Richard ILL., Mr.. Lawrence
Barrett bore the brunt of criticism in all Of
these plays. The Varieties insisted on
"Katharine and Petruchio' and the bur
lesque of "Sonnambula," relieving public
expectation on Friday evening by producing
the English sensation, 1.-TWO Roses" At
the Academy, tire Moore Wyndham Comedy
company gave Ms, during the week, alter
nate performances of 1.-The Lancers" and,
ours" We feel operatically inclined just
now, and after rehearsing, in few words,
the performances Of the past ten days, we
shall proceed to consider the value of the
artists Of Mr.. Caiabresi.
The operate season opened with Haleyy's
spectacular opera OF La Juive' sn1g
twice during the first week, and followed
ON Monday last by william Tell" gene
rally accepted, except by German musicians,
to be the MASTERPIECE Of opera compositions.
Verdi's "Traviata was performed on Tues
day and last night Weregret to state that
with the exception Of the first night the au-
diences have been comparatively slim. 1t
was an unfortunate selection, We believe,
that Of Halevy's ''Jewess," for the initial
performance at the opera. And let us
say it without proceeding further
if the administration of. the Opera has
been hboring under difficulties Ocea-
stoned by the absence of several OF its
artists, we are not to base our Judgment
upon what they will be, but must criticise
alone what we have seen. Halevy's best
| opera, Astounding in vocal difficulties and
exceedingly exacting upon the skilfull man
| agement of the most accomplished artists in
! vocalization, as well as in scope of voice
and power of execution, it is not such an
an opera as would most advantagcOusly
display ordinary talent. This fact
was conclusively demonstrated on
Saturday night of last week, when. from
| the rising of the curtain to the closing
scene, the weakness Of the artists was CON
stanuy apparent. We are disposed to
| make every allowance in favor of the
singers for the change in the climate, a
natural timidity and lack of self-coniidcnce
attending first appearance in strange
| country, and before critical audience.
IL.
which neither time nor circumstances can
eradicate, manifest themselves so palpably
our lcniency must be shaken, and the duty
If n fair and honest critic must be per
formed.
To begin with. we have had Mr.. Cazeaux,
! the tenor, who. in the role of Eiea-ar, had
ample opportunity to exhibit his vocal
powers, his science. and the accomplishment
/ of an undoubted musician. The role is diff
| scult and laborious. and he who fully
realizes the idea OF the composer must be
| indeed an artist endowed with extraordi-
nary natural gifts. This Mr.. Cazeaux fails
to do; his deficiency in the most indispensa-
Die requisites is great indeed. His voice,
whilst possessing some power: with tolcI-
| able fairness in the medium notes, is de-
cidedly bad in the upper register, and like
Picot, whose middle register was tar SIT
psrior. he seems to prefer singing semi
tone fat rather than in harmony with the
orchestral accompaniment. Especially could
this be observed in the last aria OF the fourth
act.
Mr.. Cazeaux' powers OF yocalization are
limited. but he sings with expression: his
acting is tame and spiritless. AsNElea-ar
and as Arnold, in William Tell. he has
submitted to the seyerest test, and It may
be in other roles he will create a more ia
vorable impression and more fully realize
the predictions of his friends.
Mr. Dekeghel. the tenor leger, has had
better opportunities, and, from his debut in
"Thc Jewess," cyinced that he was an ac-
complshed musician. His voice IS remark
ably true, sweet and pure: easily managed.
The serenade in "The Jewess" and the bar
carolle in William Tell" as sung by him,
are sufficient to establish our opinion of this
singer. But. notwithstanding all the arts
tic talents of the singer displayed in Ira
viata," memorable nature refused him her
assistance, and all his training, study and
skill could not supply his deficiency OF
voice, which, at times, was imperceptible III
the forte passages.
Mr.. Customary, the basso profundo,
has a rich and full voice and possesses
skill in contrulling.it. He well knows how
to make use of his powers but at times ii
seems that he would set the orchestra at
defiance and attempt to sing in his own
way This may be a satisfactory achieve
ment for the artist, but it is very grating on
the ears of the listener, who thinks more OF
harmony than of independence.
Mile ROzes, the prima donna soprano,
does not in any particular reach the stand
ard of excellence as singer adopted by the
habitues Of the French opera of this city.
When we say that she possesses powerful
voice, we have said all we can in her favor
1t is sadly deficient in melody and fresh
ness. At times it is painfully harsh and SO
false and defective that we are willing to ad,
nit that as Rachel, she was constantly la
boring under the effects of the fearful pun
ishment of the burning stake of the last act.
Her voice seems to have been Oyertasked
and is now husky and exhausted, hence in
capable of that elasticity and ready control
attainablc by younger and fresher voices.
In her execution there is want OF finish
and delicate embellishments that contribute
SO largely to the success and popularity of a
vocalist
Nine. Naddi's voice is a pleasant relief.
and with it's clearness and melody, as well
as its correctness, atones in a measure for
the shortcomings of the many others. 1t is
not a voice of much compass nor OF very
great power, but by skillful management it
is rendered both effective and pleasing. AS
an actress, in the dramatic as well as the
lighter opera, Nine. Naddi excels, and gives
evidence of thorough and intelligent ap-
probation of the role she impersOnates.
Ofthe chOruses and orchestra we have but
little to say as yet, because the want OF suf-
ticient rehearsi is a good excuse for them.
The ballet corps is not at all III keeping
with the surrounding style of the opera and
its stage. Mr.. Van Hamme and Nine. BignOn
are both good artists, but the other dan
seuses, with one exception, are quondam
coryphees of the Academy of Music, where
Manager Bidwell would not presume to
even present them to the public as second
danseuses.
The company is tame one, so far. Let
us hope, however, that with the arrival OF
Mme De Edelsberg, cOntraltO Nine. Du-
| rand Hitchcock chanLenSe Le0ere: Mme. Din: