New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1873-11-11
MUSIC AND THE DRAMA
Music.
MUSIC.
ITALIAN OPRRA--THE HUGIlENOI1

ITALIAN OPERATIVE nUGUESOT3
"Tbe Huguenotsn drew a very fine audj-
ence last night, and the performance may be called
good. and in at least one scene decidedly brsntone
The opera Is one OF those picturesque and meodramao
works which rarely fail 10 impress the public although
II exacts a much more careful preparation and much
stronger cast than most managers are able "a
give IT, Some OF It's richest effects depend
upon the careful adjustment Of details. the per
feet drill Of the orchestra. the discipline and
power OF the chorus, faculty Of mutual adaptation
among the principals. Lacking any Of these things
and we know how commonly they all negiected-ths
first half OF the opera invariably becomes tame. Mr.
strakosoh has shown rather than his usual liberal
ity In mounting this work; he has the stage with
reasonable degree Of taste; DC has made Pretty
good OF the ballet, aud sig Musio
has evidently taken great pains With his or
chestTa Tue chorus. however il too Important
part Of "The HuguenOts" to be passed over without
criticism and IL must be said that was not cred.abls
last night and that there not perfect undersan
lng between the singers and their leader and DOt
always entire agreement among the principal artsts
Partly for this and partly from other causes tho
jrst two aetsor the first three, the was d.
yided on this Occasion-were rather dull Beyond the
two fayorite airs OF Urban, which were
charmingy sung by Mss Cary, and the
music allotted to Marcel which sig. Eannetu
delivered with admirable spirit and d fine dramatic oo
oring there was nothing call for enthusiasm. In tho
third Act however the fortunes OF the night were re-
deemed Tho Benedictlon OF the POignards, with n.
Maurel in the role Of ST. Brs went Of fairly, although
the Invocation By the Monks weak. and the chorus
generally was imperfect; but the great scens
between Valentine and RdOut left no opportunity
for adverse criticism. Mime. Nilsson invests the herona
in the earlier scenes with an Understandable sweetnen
and amiabty but the grandeur OF that innocent
and loving character breaks forth with pendor never
surpassed stage. Tho parting with Raow Is per
haps the most tragcal passage In the modern lyric
drama and we have no words 20 describe the ehcct
which Nine Nilsson produces with IL. II We say tbas
10 this scene she displays a deeper emotional nature
than she has generally had the credit OF possessing
and finer dramatic genius than she has shown even IN
Faust" or IS Mignon," or hamlet" shall indi-
cate imperfeey the impression that she pr1dgcod last
night We are not but 10 ought to DO cal cd The
most brilliant triumph she has achieved In Amorcs.
The Ra0M OF Sig. Csmpanini was worthy 70 accompany
such a VaieaHse. During the first part Of the
evening he spared himself but IN This cru
cial scene he pat forth Of his greatest
efforts and stirred the house several times 20 bosterous
outbursts OF enthusiasm Action, conception, and voice
were alike admirable; and the high merit OF the per
Torrance was not Ia detached passages. but was SUE
tanned through the whole Actthe love passages In
imitably tender and the passion and despair Of the
separation portrayed with splendid force. The hGrgur
lie dc Wallis Of Nine. Maresi not open TO any par
cular objection. except that It was totally unnterest'
ing The Aercrs Of signOr Del Puente was very good
indeed.