The New York herald., 1873-10-09
ADJUSTMENTS.
Italian Opera-"n Trovatorc," with
Nilsson, Campanini, Cary and Del

Nilsson, Campanini, Cary ana Del
Puente.
The Academy OF Music was crowded last evening,
the performance being the fifth OF the subscription
series. Although the opera was the well-worp
I'll Trovatore," which has been sung in every
shape ana form in this city until it might be con-
sdered an impossibility to give anything new In
Its cast, yet 1t proved OF advantage last even
ing in demonstrating the ability OF Mr..
Strakosch to present company complete in
all its requirements and well balanced In
cast, chorus and orchestra. 1t is such novel
sensation to hear an Italian opera company OF such
calibre, that there was degree OF freshness COM
municated to the familiar numbers OF Verdi's most
popular work. In this particular the management
deserves high praise since 1t is long step beyond
the perniciOus star system, the bane Of art. The
four principal singers-Mme. Nilsson, Miss Cary
Signor Campanini and Signor Del Puente-won
laures In their respective roles and 1t would
be difficult to say which OF these ARTISTS was
entitled to the greatest degree OF praise
Even the minor parts were filed by conscientious
singers, and Signor Muzio's department., with the
exception OF one aalr pas OF the chorus, OF which
we shall speak again fully, contributed to the
harmony and symmetry OF the representation.
The HERALD has repeatedly urged the necessity OF
such perfection OF detail in operate performances
and to the management OF the Strakosch troupe
the credit is due in the Inauguration of such COM
mendable course.
Madame Nilsson, although she does not count the
role OF Leonora among her favorite operate char
acters, won such a success last evening as should
encourage her to repeat more frequently such q
charming and symmetrical performance. She
breathed tenderness and deep feeling In the
'Tacea la Notte" and surprised every one by her
brilliant and sparkling rendering OF the succeeding
allegro, s'Di tale am0r.n The tOrte or Madame
Nilsson does not consist OF bravura singing but
here she showed herself an adept In the
pyrOtechnc line. Her presence and voice Infused
degree OF warmth into the concluding trio o. the
first act, even beyond the fiery ardor Of the tenor
and baritone. In the agtated measures Of the
"E deggio posse credero," when she s rescued
from the power Of the Count by the oppor tune ar
rival OF her lover, the dramatic power OF Nine.
Nilsson was shown to advantage, and the fine
ensemble that closes the act was given with
Scene Scene was more interesting than ever by Nine.
Missions exquisite singing in s'D'amor sulp allie
and Se n acg Was dns sas BY ss
omission the Leonora OF the evening lost an oppor
tunity OF adding considerably to her triumph. She
flung wealth OF passion and fervor into the aria,
| .vivra contende il giulilo," and her death scene
was replete with startling power and tenderness,
| Throughout this well-known r0te OF Leonora in
| Nilssons hands became fresh and delightful, and
applause greeted her from the rise to the fall OF the
| Miss Cary astonished even her most enthusiastic
admirers by the amount or tragic fire she infused
into the roe Of the revengetul gypsy the hrst
with rare effect, and she was called out after her
passionate parting with ManricO by the spontane-
| Gus voice OF the entire audience. Again, when
Azucena is taken prisoner by the retalners OF the
| Count Miss Cary called forth the commentators
| OF those who listened to her. She has evidently
| abOred industriousy in her profession since the
first Nilsson season; for she has succeeded In unit
ing dramatic talent to her rounded, sympathetic
voice.
The Manrico of the evening" Campanni, revived
the furOre OF Wachtel, with The additional good
quality of presenting an impersonatl0n OF uniform
excellence. He gave the opening serenade deli
clously and the gem OF the tenor part, Ah ST ben
mio," with expression ana feeling. This lovely
aria generally passes unnoticed by the general
public, but the blatant 'Dl quella plra," when
adorned with the ut de pOitrtne, is sure
which Campanni breathed through every note OF
the former aria passed or nought last evening, as
far as applause was concerned, but when bis voice
rang out la Wachtel in the high G, in the "Di
was obliged TO bow four times before the curtain.
He sang the s'Ah che la morten as 1t has seldom
been rendered at the Academy
Del Puente, the barytone, was another feature o.
good that the audience demanded a repetition of
| It. The chorus was excellent, except during the
| 'sMisereren behind the scenes, which was sung
quarter OF tone below the pitch; and had 1t not
the frmness OF Muzio his well selected and
admirably trained orchestra, this scene would have
proved disastrous in the extreme. When will Italian
singers learn to sign properly behind the scenes9
when the situation and the composer demand the
very opposite. When they are on the stage under
the eye or the conductor they are held in check,
but in the coultsseS they are utterly uncontroable
The Strakosch company will present Lucia" to
the Brooklyn people this evening" with the follow
ing cast:-Lucia, Mlle Torrani; Edgard0, Sign0r
Campanini; Ashton, Signor Del Puente.