The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-04-11
THE ACADEMY OF MUSIC.



yerdi's favorlte opera has obtained such q hold
on the affections OF the lovers OF good music that
1t was nowise surprising TO lind a brilliant audience
assembled to hear II rendered by the comnany ut
tho Academy last night. The manner in which 1t
Is put upon the stage reflects credit
on the management, and is certainty desirable
Improvement on the past. The happy alterations
OF charming arias anu effective choruses
lend peculiar interest To III Trovatore,n espe-
cialy when ordinary care has been given
to The organization of che chorus. Last
night it was not by any means immaculate, but
gave proof that some pains had been taken to train
choruses ruggedness ana want Of balance
that we would like 20 see remeded.
The cast was the same as IN former
representations, Mr.. Saatey appearing as Count De
Luna, Parepa- Rosa as Leonora, Wachtel lhe
Troubadour and MISS Philips rs Azucena. Santey
was In excellent voice, and earned rapturous
encore by his sweet and tender,u render;
WITH the ease AMI absence Of effort which lend SO
Sn charm to sano wacn nr rsa
q the sxpressiveness that belongs 70
effect with hts high notes. he impaired ruggedness
10 the song which was strangely out Of Keeping
In the case OF the scene WITH Azocena, where
sings Gun Momento puo lnvolarml." Here the
use OF the EtSner notes as Inc vehicle for the
expression oil violent passion was most efiective,
but more than once the singing was out OF time.
and the sudden, jerky uttertng OF The higher
ones pronuceu an UNPLEASANT efect. Tue
way In which tins artist sang the delight
ful ara, "Amor, sublime Amur,n would go
far 10 prove that VITA care he cOuid free himself
iiOm the Objectionable uneven mode OF singing of
Impression BY sensario effects rather than by
legitimate effort 1Ol1S de jO1ce may satisfy the
nneducated, but can never compensate ior the
want OF truth aud correctness to tue MINDS Of an
educated audience. The rendering amor sublime
Amor" was marked by the greatest care, and gave
abundant evidence Of u culture whlcn could
scarcely be suspected rom the cruueneSS which
constantly married THIS artists singing. His grand
effort was reserved for The ourburst OF passionate
feeling, '.Dl queilo p'ra orrentlo iuoco," which ne
tainly marvellous. and the clear, distinct man
ner in which he rolled ont the upper
brought down the house aud earned well deserved
encore. 'Ai nOsbel Mont" was Wen given. but
can che Ia mortc'' was entirely wanting III tender
ness and expression. Indeed. we cannot under
into "Amor, sublime amor ana so utterly
mOrte.n The final scene was also weak
ana unsatisfactory. Madame Parepa-Hosa was Ia
good voice and aDstained from che strainlng efforts
that so constantly mar her singing. The manner IN
10 sofa" was sweet and touching, but "ln questo
astl remOlOo weakly given. In tho rem
derlng or "Vanne, sosp1r dOlente' she display cd
brilliant vocal lzation. Miss Philips appeared TO be
suffering from slight hoarseness; her voice was
wanting In cearness and neXibility. The orchestra
on several occasions during The performance quito
drowned the voices OF the singers. Cannot cam
Rosa Try to moderate tnelr zeal?