New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1872-04-05
MUSIC AND THE DRAMA.
MUSIC.
MUSlC,
ITALIAN OPERA-RIGOLETrO.

cedented thing with TO see performance 'hat Is az
good the principal artists ranking Win the nrse Vi '
Irrespective classes In the world tho orohestrs PoMe'
refined, and spirited, chorus largo ana ~ehureu'
and tho music carefully rehearsed that tho sensation
aroused by Mr. Rosas enterprise Is one OF WONDER
quite as much as satisfaction. Yet TINS oush'
not TO be n novelty in q city hke New'aorR' in
some partcuars the combination made by Mr.. Rosa is
indeed phe nOmenal one not often to he paraleed but
in any great European capital an ordinary company
must consist of at least six artists ranking In the
musical world on about the same plane with Parepa ana
Wachtcl chorus and orchestra must DO even larger than
Mr. Rosas scenery must he better, and costumes must
be nj least as good What enjoy In New York now
for the first time ought have every season and
may be that after brilliant Of the present
pertinent serious attempt will be made to give TO u.s.
The rich effect Of tho representations OF "Trovatore"
Monday and Rigoleto" Wednesday is attributable
various beside the individual excellence OF the
artists. NJ Rosa, the first place, has rare genius for
management He is ambitious, not only TO MAKE money,
but to do honor his work; and so whatever he lays
his hand TO- he does with all his might His rehearsals
are thorough his tact is fine his Judgment Is wise his
knowledge of the business is complete. In the next
place peculiartes Ia the four principal artists
which t them exactly TO each other They ore peculi
arties sometimes OF agreement, sometimes Of contrast
The voices OF tie prma DONNA the tenor and the bari
tone are alike far this that each is strong, pure,
and brilliant but their STYLES completely we might
almost say amusingy. unlike. Madame Parepa Rosa Is
is characterized not by passionate defamation but 10y
simple outpouring of song. The music PUSHES from
her throat without effort and IL were easier LOT er
70 than TO keep Is ill., Inexperienced listeners
Imagine that there is great art In TINS style ~
little art apparent but musicians know that such sing
ing Is the last result long years of training and they
honor the artist not only for the exquisite gift which she
got by nature for the exquisite culture which she
has got by hard work. With an artist or the hlcai
French school Madame Rosa never ought to sing She
would ruin the gossamer graces of CapOu Tor instance
and good deal of the beauty Of her own method would
perhaps be obscured in the contrast But she and
Tachta are admirable foils to each other The
great German tenor is inferior in technical cultivation
10 each three artists with whom he is associated
vet he is by means the and vulgar vocalist that
pertain connoisseurs who never heard him sing nave
neon accustomed TO call him. Such occasional lack of
refinement there may be in his delivery we forget IN
the glory OF his ringing voice and the magnetic dash ana
IRE OF his style. little reckless he may be In the lavish
use Of superb powers, but the result Is commonly
his Justification Too pronounced at times IN action
spasmodic and overstraned and then In song,
he nevertheless conquers the admiration OF the sernest
puris and the multitude "a no other man on the
lyric stage them His voice blends easily Win
Madame Rosas and 1t extraordinary piece OF good
fortune that the THO should be completed by third
great singer differing widely from both the Others aud
vet never seeming so much in place when he sings III
their company. The union or Parepa' Wach'el'
and santley is the perfection Of brilliant muSicai
bffeet In strength the voices are about equal
IN coorng they arc well courasted that they hghten
one anothers brightness MI santey has all the repose
which Wachte lacks and all the easy refinement of de-
livery for which Parepa is remarkable lie Is man OF
magnificent natural powers, so carefully corrected
and controlled that il is only by slow degrees
we comprehend what they really are; an art
LIST who delights US in every part, because
whether the music be good or bad, the method OF de-
livery Is in itself charming study No one word so
we'll expresses the characteristic OF Mr. Sankey's art as
Thorough" He makes no mistakes. he Is never SLOW
eDly and never weak Whatever he does is done well
To his other gifts and accomplishments he adds sym
pathetic style and genuine, perfectly unexagSerted
sensibilty No wonder then that with such com.
binaton Of noble qualities ne reveals new mean
ings in the most familiar music, and startles
an audience into EXPLANATIONS of delight with
songs whose freshness supposed to have been
long ago exhausted. Miss Adelaide Phillips
nearly resembles saney in her style than she does the
other members of the company She Is singer OF high
culture of marked self-command, dignity, simplicity,
and artistic reserve. She knows the limits OF her
strength and never tries to Oyertep them she has
great wealth Of paos in her beautiful voice and resists
the temptation waste it upon inappropriate themes
She is natural actress and In the urgid declama-
ton of Asucena falls into rant and fustian OF
the of the company she if the most emotional
and the most dramatic.
Such was the quartet which the second night of the
seson presented Rgoetto" before audience similar
IN size and character TO that of Monday We do not be-
eve 40 good of the work has ever been
yen in this city before. In the music OF Gdd Madame
Rosa Of the finer OF her method than
Leonora affords any chance to display, and she gave
these with all the sweetness and good taste which we
have adm ired SO often past The traces OF re-
cent affection Of the throat, which were per
eeptible in her voice Monday seemed to be
fast disappearing. The "Caro nome was given with
,xtreme purity and refnement the duet with RigOleh0,
"s vendetta" was full of splendid tre and the whole
of the last Act was electrical Herr WachtePs Duke is
unite A. good as his Manrico, and may wait many
wears before better representative of the
dashing. handsome, insoent nbertine, who fourshes
through this dark tragedy with his rolckDg song Of
eoman's FOLLY and INCONSISTENCY His rendering of La
aopna mobile Is striking and almost original and
sailed out especially lively demonstration from the
gallery Tie duet with Gt00 in the first Act,
AdAio speranza ed anima," also encOred with
emphasis MI. Sankey's Rigoletto, however, was the
most interesting feature Of the performance The role
contains little of the canabe melody IL which be makes
puch marked impression upon miscellaneous audiences
but IL is rich In dramatic eOloDg, and though Mr. SAINT
lev did.not such vociferOus enthusiasm as his
baen kndled the first night he showed finer arts
Tic sense broader culture, and much CHER dramatic
poyer-so much indeed that We are entirely at loss TO
account for popular impression born Of his experience
with the English company. that he does not know how to
act The famous quartet of course was given glorousy
I'm the secondary parts, MI Hall tMonterone) and Mr.
Avnsley Cook Spararcile deserved particular praise.
The chorus gain strong and good and the orchestra
under Mr. A. NeuendOrf excellent The ball scene,
at the opening Of the opera, very well arranged
with plenty OF well dressed guests and dancers, and
band on the stage.
Next week we shall probably have "Tle Huguen0ts"
And "Iucreza Borgia" and the week after is expected
20 be memorable for the revival of civilian Tell"