The New York herald., 1873-10-10
ITALIAN OPERA.

"Lucia di Lammermoor' in New York
and Brooklyn Last Night-The Stra-
kosch and Marctzck Troupcs Interpret
ing the History OF the Bride Of LAM
mcrmoor Mt the Same Time.
'Luciar since its first production at Naples,
nearly forty years ago, under the direction of the
composer, has held high position in popularity by
reason OF its intense dramatic situations, which
give to the prima donna and tenor ample oppor-
tunities to create a Juror. Persiani and Duprez
were the first Lucia and Edgardo, and alter them
roles. Lucy Ashton has been represented by Jenny
Lind Dolores Nan, Catherine Hayes Sontag,
Gazzanga, FrezZolni and Nilsson, and the principal
Edgardos have been Rubini, Sims Reeves, Fras-
chini, Mario and Brignoli. Despite the defects in
the Instrumentation OF this opera, which is so
noisy in some scenes that 1t nullifles the dramatic
character Of the vocal parts, this is cOnsid-
cred as one OF the best OF Donizetti's works.
There are some exquisite numbers in 1t, and 1t
would be difficult to match In Italian opera the
grand concerted vocal piece in the bridal scene the
sestet "Ch mi frena." Although founded on Scott's
novel, the hbrettist, Cammarano, has widely de-
parted from the original and little of the
history Of the unhappy Bride OF Lammermoor
may be cleaned from the three acts OF the opera.
In this opera, In which the American public always
take an interest, two companies appeared last
night-that Of Mr.. Strakosch, at the Brooklyn
Academy OF Music and tnat or Mr.. MaretZek, at the
Grand Opera House. The criticisms on these per-
fOrmances, which we present below, will give
fair idea OF the calibre OF the two companies, and
will demonstrate the fact that New YorK-Brooklyn
being suburb--has become one OF the operatic
capitals of the world.
THE sTRAkoSCH COMPANY IN 'LUCIAo
BrooKlyn never enthusiastic opera music
of any description. with the exception. perhaps, OF
congregational singing, furnished the manager
last night at her Academy with something less
than half house. Our friends across the water
prefer coming to New York. it seems, for their
amusements. Tney missed, IN consequence, last
evening very enjoyable, even performance,
which. without possessing any extraordinary
feature, was eminently satisfactory in its principal
points The first OF the cast that calls for atten-
tion npriority OF appearance was Signor Del Pu-
ente, who was the representative OF the vindIctve
Henry Ashton--a rather queer departure from the
Sholt0 OF the novel. His "amiabler feelings
towards the Master OF Ravenswood were ex-
pressed in the opening aria, ''Cruda, funcsta sma
nian in ull well cultivated voice, but without any
perceptlble expression In the Tia pleta de In suo
| iavoren the freshness OF the voice compensated
TO great extent, for the absence OF fervor. Alter
| the beautiful harp solo which precedes the nrst
/ appearance OF Lucia Mile. T0rrlanl was
! heard in the aria which Jenny Lind once made
| famous. but which since her day has been lightly
/ dealt With by prime dome. This Is 'Regnava
| silen ziU,.r the Instrumentation OF which is OF
| mixed nature in the combination of reeds ana
strings, and is not agreeable. Mile. TorraDi then
sang the norid "Quando rapita in estasi with ease
| and smoothness, showing considerable powers OF
| execution, q young, fresh voice. capable also OF
emotional effect. Her appearance Is very prepos-
| sessing and her acting graceful, although her
| youth does not allow OF her reaching That higner
| plane on which the great Lucias OF operate MS
| tory stand.
The duets, 'Sula tombar and "Verrano Ia sun
| aureu which form the leading features OF inc hrs'
act were given, the former with dehcacy anc
y grace and the latter with spirit ana energy y.
Mile. Torrlani and signor Campanin'' Inc nigl
votes OF the tenor at the CONCLUSION " th'
:. It rang out with clearness OF tohc an'
=. ,e OF delivery that reused even 'he apa'ne :"
- okIyu,tes The scene between Lucia anu y ne y
p, her In the second act, where ne ps ~ no
,. ke the Master OF kavenswoou ~ ~ ! ~ IN
Iosa rcd letter was rather tame on tnc pai " ~ ~
lorl me whose really fnc voice lacks, rs ye.' ~ ~
Daryt fire OF the lyric artist: the gem 1 nnr .n
opera "chi mi rena, was hnef and the bary
Of the ,,cc beinc ma rtcuiarIy brilliant anu ene'
tone'sw act,no or Campanini IN TINS scene, an
I'VE; ,n I'm enetratng quality oi ms e0cc w ona,,ty m
OF rare IRE snncss ~ It's highest and capt
tone from nactad outbursts OF passionate EXPIRE
BILE OF uneA q yaa the predominating feature. ~
sion at time IA fall here for the succeeding sret'
curtain shOu c,swaw
Is but an ant ne IN the next act Is, OF course, q
The mad sct nhv,est for the pIma donna. MI
Sng point a., verY charming " ner WING ore
TorrIani l0okeA