The New York herald., 1871-10-15

The opera Is happy mi xture Of romance and dia
bosm, with the power OF iove' as the guiding
principle. Satanela, the emissary OF the unmen-
tionabe parsonage, feels the influence OF this power
ana, openly defyng her cloven footed master, saves
the knight whom she was sent to destroy. There
are pirates, slave sale the ORIENT glimpses OF
Hades, an apotheoss aud all those gorgeous sur
ronndings that one would look for only the "Black
crook" or other specacles. 1t is not necessary to
well attempt TO describe one OF the "Arabian
Nights" entertainments. Suffice it to say that
there Is In IL full scope for the composer the artists
chorus, orchestra, scene painter, machnlst and bal.
let master.
The music is equal. II not superior. to anv Of
Balfes other works. There Is no overture I'M; n
short Introduction leads into a spirited opening
festiva! chorus which is very brilliantly lnstrur,
coming in at the rnais 's IN i2-s tse tine osorus
very beautiful and flowing melody OF the
Sot Our own which succeeds the ouoret Are
omitted on Monday, and Miss Clara Doria sang In.
stead an aria and cabeletta from the composers
"Maid OF Art0is.n The next scene tof the gam
bling Is IN some degree an imitation OF the well
known gambling scene in Robert le Diable.u
through and forming pleasing contrast TO the
fragmentary character or the vocal parts The end
ing Is grand and massive In parts Tor the single
coquettish little air, ''Woud She But Name
the Day" gem its way simple ana telling.
appear, and she Is ordered to become the paue OF
the sleeping Rupert TO lure him 10 his ruin is pre-.
W iIISlC OF ''Der EreysCnutZ
or something marvell0usly like II. ArImanes, song
'Since He Has Dared to Braven is one OF the finest
bass solos IN English opera Ruperts drinEinQ
song, The Glorious Vintage OF Champagne u has
already found It's way into the salon and concert
nau ana ~ Immensely popular. The yindle or the
nrst act brings IN for the first time the lovely
melody, 'The Power Of Love- which runs through
all the rest OF the opera, coming In each time m a
diferent and more beautiful form, IL is prefaced
and accompanied by the harp and an invisible
chorus singing chr0matic scale In unison
while the soprano, Satanella sings produces an in
describa6ly beautiful effect Two flutes then
take up the melody, and Satanca sings the second
verse behind the scenes The curtain falls as Rnpert
awakes and the last notes OF ''1he Power OF Inveu
die away In the distance. The Introduction IN the
second act brings In the same melody In grandiose
style, IKE the manner In which the 'PlIgrim,s
Chorus' II treated In the overture 10 'sannhanae.
In TINS act we have two very taking pirates,
choruses delightful ballad ain Silence Sad Heart
Co.. sung by satanella, and one OF the most pleas
Ing wedding choruses that can be found m inc en-.
tire repertoire Of English opera The con
rait0s sing in unison with the ienors I'm TINS
chorus. The brdesmaids' chorus Reminds one
OF Mendelssohn's famous puarteis which un-
doubleday had something 10 do with ~
Al The wedding ceremony, which IL rndcly
interrupted by storm and the arrival OF Armanex
Tine Power OF Lover ~ again brought IN PLAYED by
the cello ana horn. The storm ~ a Dalpabc irnita
non OF Weber. "Up ana Arm,u the succeeding tenor
folo ~ OF the "Di Quella Pra order. 'eIhe nuQuc.
Do.' ana no ~ supply many Vi the Ideas IN Ibe