The New York herald., 1871-09-19
A M U S z IL E NTS.

oi GERMAN tenor5, Theodore Wachtel, made his
American debut last night at the Stadt Theatre In
Adams "POston OF Lonjumeau.p The unex|
pected arrival OF this artist In New York created
quite commotlon in musical circles, and Carl Rosa
was the lucky manager TO HIM on his arrival.
The highest expectations formed OF him. based
upon the eXtravagant encOmiums passed upon him
by German critics Therefore IL WAS not surprising to
hnd last night an audience OF the most overwhelm-
ing description and enthusiastic 10 the last degree
Every artist of note in the city attended, ana even
Miss Kellogg left her charming home on the Hudson
GO sraes m the W hsr % pnar e
Wachtel; Madeline and Madame de Latner,
Nine. Rottcr; Marquis dc Corey Mr. Vierng; BUou
ana AlcindOr Mr. FranOsch. AS we said before,
the music of the opera is sparkling and has that
dash IN It peculiar to French music. But 1t Is
ephemeral and superficial 70 such an extent that
musician wOul not care TO listen to 1t twice; ana
however favorable tmay be 0r ballroom, 1t Is aDso-
Is too long even IN the French ana when translated
into cumbersome German 1t Is perfectly un bearabe
French ope'u comiQue Is intended solely for the
French language and French ARTISTS, and IN any
other form and with any other people 1t can never
be made success. Auber Is the only modern
French operatic COMPOSER tnat is COSMOPOLITAN
Partisan In their IDEAS Haevy's 'Jewess''
Resardlng Thomas we have yet to Judge OF
his works. Wachtel's voice has the merit or v0lume
strength, sweetness and reliability OF tone. These
qualities are sufficient to attract attention to hini
and TO secure for him undoubed popularity. The
defects IN his singing are want OF evenness, ex-
empltlied in his constant use or the J0lSettO
and mega roce, indecislon at times In the
attack" "a; OF the notes, and too paIpa-
against such serious defects, but both the German
them. Nature has been b0untlul to Mr.. WachIel,
but art has not fashioned the vocal materials the
would be unfair to judge definitely of u singer OF
such renoWn after single hearing in sucn trivial
ns first Fs so %sn has 'nS sreaseS eSSn saen
Juror IN Germany and which brought
down the house last night in an ayalancne Of ap.
what with the sKllul handling of the whip, d in ait
sung in fasetto and sharp in ait sung from the
able to hear Mr. 70 tage' IN @
such roles as Manrico, Raoul and Arnold. And
| could possibly be induced to learn music
ana take care OF his voice, he might take the 1rst
~ de pOfnne Is far more effective than that OF Herr
Wachte. In the three roles we nave just mentioned
both artists. The best ar sung by Mr. Wachtei last
night was the "Good Night My Beloved Cmid," 10y
Ait. This was intro Iuced IN the third act as a
substitute TO a certain grand aria OF such
absurd and incomprehensibe character that
no one but Frenchman coult have written 1t and
no voice but that of Il throay, nasal French tenor
could sing 1t. franosch and Vierling did what they
could with their parts and Madame Rotters voice
which, with her false method of singing made the
r0eS OF the hostess OF the inn and the grand lady
ing only music OF the STUN ii IT, tum ii ti'' uruer
to perform, acquitted themselves as we'll as any one
COulu expect MI. AuOlpn NeuenuOrl was the con-
ductor, and his ability is unquestionable. We would
suggest to MIR. Wachtel, Notwithstanding the popu.
lariy OF his postlion," to drop 1t at once and con-
fine himself TO real art. Blonde burlesquc, broken
English and clog dancing are unfortunately
pUalar With sI;am cerIa Class but no one
Ing whiD ana ningng out high C's
may please the galleries. but 1t cannot gam the
sympahes Of the musical public MIR. WaChte can
do much better, as his exquisite SINGING OF Abt's
beautiful l(d showed. and nature has been too knd
TO him not to demand his withdrawal from the
siasic character and should encourage him to efforts
more worthy OF his great talents than the trashy
music OF Adophe Adam.
THE GRAND OPERA HoUsE-A new sensational
drama, with comic hero was produced at this
theatre last night under the title OF "Oorty GoOf"
The play opens with a prologue in which most or
the important characters VINO figure In the
drama are introduced. The scene Is laid on
the banks or the Rhine. Here we make the
acquaintance OF Hans, young German deserter.
and OF Charles MargOt, French adventurer, and
Claire, his sister, IN love with kaspar, a wealthy
German brewer OF New York, who has returned to
seek his wife and Child. When Claire Margot finds
out that Kaspar Is married ana refuses to abandon
his wife she resolves to rid herself OF her
rival whom she murders the closing
scene of the prologue. The murder Of Kaspars
wife and the attempted abduction OF his child al
ford an opportunity for sensation scene, which
the author borrows from the cave scene in colleen
BaWn.' In Orucr 10 complete INC resemblance
the author Introduces kind of Italian
Danny Mann, the associate OF Charles MargOt.
When the curtain again goes up fifteen years are
supposed to have passed ana the actors in the drama
are assembled in New York. Hans the dcserter,
has become Oofty GOoft the wealthy German
brewer, in love with the daughter OF one OF the
Knickerbocker families, In which he had at one
time been servant. It would be too long 10 follow
oul the pct through all It's ntrlcacies to the nna
triumph OF Oolty Coon. Care has been taken to
supply each act with thrilling tabcau OF the most
sentimental KIND, that the admirers Of TINS class
the piece Is full OF exciting situations. some OF
W us oweve ase Kew orS ME he" IN uas IN b
hoped that a great deal OF exaggeraton
has been committed. Certainly our experience OF
promenade IN Central Park IS somewhat different
IRON tie scene OF rowdyIsm presented on the stage.
We think that the "mill' on the Mall, which affords
display his muscle had been better omitted as
matter OF TASTE The plot Of the drama Is very
| Goolt, a gcod.natured, shrcwd fellow, who amuses
| the audience by the humorous 1uantness OF his
6cultes by mis- awkwardness, and getting out Of them
| by ms good fortune but, whatever happens, he has
an nexhaustible iund Of philosophy. which ne re-
ness or his language there IS nothing either very
new or very striking IN the character, and much
said as the grotesquc manner OF saying II.
the rest G the and P'y 5vc wa Angs rs pS'
lltlie can be sald 1T resembles so very Closely
in details the ordinary sensation play We have
the same impossible situations, escapes and
tabeaux, not worse and not better than their el.
lows. EXaggeratlon Is the very essence Of sensa.
ton drama and the present one Is no ex.
ception. In his anxiety to lash those
two pests OF society, the shyster lawyer
and the black-maling Bohemian, the authors just
indignation has carried him TOO far, and lie has
gwen US, in Lucius Lyon, not as he imaeines
photograph from lie but an oysrdrawn. Tn and,
well put upon the stage. ana, for first per.
formance ran easily. Mr. Gus Phillips, VINO appeared
as Oofty -Goot, acted naturally and exhibited
wonderful seifpossessOn FOR debutan. lie
seemed perfectly at home on the boards. MISS Jano
Burke who comes to us from the London stage,
acted her part IN quiet, artistic manner she had
not however, much scope