New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1873-11-27

stage. except perhaps or two Of Mr. Edwin
Booths Shakespearean pageants. Certainly there ia
| not a spectacle grand to be enjoyed any
| where in this city. Everything about IL. from
! the grand double Of tho Tenn
| pie and the subterranean vault down
the tunc Of Ithei super who clears the stage il
admin. BILE Of its kind There seven scenes all OF
them entirely new, all of them spreading generous
expanse Of architectural glories landscape beauty
all of them marvellous achievements of pic
torial taste and skill. The multitude Of au1iI-
ares, singers. dancers, baDdsrnen, soldiers slayes
is almost bewilderng and the richness of their gar
ments is really superb. We never saw an opera be-
fore in which neatness and berality marked every
detail down to the very least. The boisterous ap-
plause which broke out frequently during the even
| ing. and the cordial recognition Of Sig. Muzio
and Mr. StrakOsch when after much difficulty
they were induced to come before the curtain with
| the principal singers was doubt stimulated
quite as much by the unexpected excellence Of the
representation of the opera by the character Of
the music The success Of Aida" is Of the most en-
phatic and dem0nstratiye kind How far il
for Sig Verdi it is too vet 10 Judge The work
is lacking in some Of those distinguishing qualities
which made the popularity Of the Troyatore' and
"Travata" 1t is destitute Of clap-trap effects. IL
contains very few melodies which can be whistied
in the streets and ground upon barrelorgans. Yet
il seems to us composition Of very high merit, and
connosseurs will regard it as the most interesting
If not absolutely the best that Verdi ever wrote.
That bis style has lately been undergoing great
change everybody knows. The ripening of hs
scholarship was apparent far back as 1859.
when we had an opportunity to compare
his "Bao in Maschera" with his "Tr0yaiOre'
written six years earlier. II has since then been
very marked and in Aida" must impress the least
critical listener. But besides this there il percept
bic modification Of his theories OF art The orchestra
acquires much greater importance. The accompan-
ments gain immensely in richness and variety.
And above all the aras and recitatiyes seem to be
constructed on somewhat changed principles, as II
the influence of Wagner had made itself felt by this
most thoroughly Italian of the Italian composers.
and was gradually working radical change in his
taste If Verdi live to write much longer, we ven
ture to predict that his latest operas will show
still more extraordinary progress.
Aida begins with short and romantic Prelude.
played chiefly by the violins pianssimo, and dying
| away in a true Wagneran phrase as the curtain
rises upon the first act. The scene is grand
hall in tho palace of Pharaoh, with view
| of the Pyramids and distant palaces through
the open colonnade at the back. An Introductory
dialogue between Radames and Ramtis leads to ono
of the brightest gems of the opera, the beautiful
rornanza Celeste Aida" which Sgnor Cimpanini
| sang with exquisite dclcacy and expression. This
| ia followed by duet between RGdam6s and 4mRerfs.
| and the duet is changed by tho en-
| trance of aida to trio, "Vieni . dlletta'
| both remarkable alike for tender feeling
and for dramatic force, and most admirably con-
| structed. The entrance OF the Hing and his cour-
tiers priests attendants, &c, brings us to ono OF
| those tremendous ensembles wherein Verdi always
excels The stirring martial strain " Su del Mo-"
| gives the key to this number which Is wrought
| up to magnificent effect. Ama then
| has trying scena, followed by
delightful little cantabile, NUM- peta.' entirely,
unlike verdfs usual manner, and the seeQe cLanges
to the interior of the Temple 81 Phthah where
Radames is 70 receive the consecrated arms before
| settinT out upon hls expedition. The whole OF
! snis number is wonderful construction OF scenic
! splendors and musical beauty and variety. Tho
weird chorus of the prestesses behind the scene ana
the priests in 'front.' the sacred dance, the impressive
duo between Raddmes and RANTS all accord perfectly
with the effect of rows OF stupendOus columns Hoods
of soft light fumes of incense and the glitter OF
| gold and glory of scarlet and white robes Tho
curtain falls upon the invocation " Immense ftha.
moi tinvocham" In the second ACT we have irst tho
| Chamber of Amneris, with a female chorus conf
cal dance Of little black slaves delicious duet for
| 1n,.,~is and Aida, and repetition Of the mar.
tal cborn, the return of the victor IL
announced vithonr. The second scene represents
one of the gates of Thebes with the entrance Of tho
army the hiag the victorious general, and the cap
tves, and this was grspdly arranged that
it called forth lOng-continued plaudits. Besides
the chorus, Gloria an Egitto" which was most
smOthered by the brass instruments on the stage,
march, and ballet which, like the other two is both
curious and graceful, the most remarkable part Of
this is the prayer for quarter by AEona1o and
the other prisoners against which is cOntrasted
the remOnstrance of the priests and the plaintive
cry of Aidd. The finale is stronger than that
in the first Act. In Act third we have exquisite
piece of scenery showing the Nile by moonlight and
the temple of Isis high rock by the bank and hero
occur two grand duets, one between Ai1a and 4ros-
asro, the other between Aida and Radamss. In both
these with great deal that is novel, have
decided "reminiscences of Verdi's old style. with
out many of his. old faults. Tho passage
in the first duet beginning La ira foreste vergin"
will be particularly admired. Ii is in this Act also
that Add has her beautiful romanza 80 ciel
zurri." Act Fourth opens with hall in the Palace
serving a vestibule to the subterranean tribunal
After the grand duet between Amne,is and Hadames.
tho dsgraced general is led away to judgment. and
tho voices of the priests heard prOnouncing thu
sentence below In the Last of all the stage is
divided into two floors. The upper represents the
temple of Phthah. ablaze with lights and crowded
with priests. priestesses, and people of thu
court Below is the dark vault in
which Radames has just been immured
The spectacle and the music were here effective to
the very highest degree, and the curtain fell last
upon the most enthusiastic audience have seen
this season The cast was follows:
Aida. Mile Torrant
Amneris Miss Cary
Radames.. .Campanint