The New York herald., 1873-11-27

reminiscence or 'sRobertv Is Introduced In the
second scene OF this act occurs the gem Of the en-
army entering the city OF Thebes. II is as strongly
orcnestrated .,,a,a @ as ever Meyerbeer or Wagner
orcaestra and Dand eon'' the Hq stage Ss''i Is
very grand and Impressive. conreteanps oc-
CURED IN the Facke,tanz measures OF the subject
gwen Dy the trnmpets on the stage, and had 1t
not been for the drmness ana decision OF Muzio
Msasa disastrous US oreak might have taken place. M.
his appearance for the rst time among ner the cap
tives that followed the triumphai entry OF Ra-
the roe OF an untamed Bedouin, and
hls noble barytone voice and finished
The best specimen OF ensemble writing that can be
found In any OF Verdis works Is the sextet for
Afda, .Amneris, Radames, Amnasro, Ramns and
the King assisted by the entire chorus. There is
abundance OF deep thought and study OF the
Wagner school, with the essential quality OF the
theme Ia Donizetti followed, and the act came
to an end In perfect whriwind OF voices and in
struments.
The banks OF the Nile, in the third act, were
apostrophized by the violins, CON sordfnt and a
sombre unison chorus of priests WITHIN the temple
this act is very novel and startling, and yet sub
ordinate to the demands OF the situation Aldas
ar 20 ,resche a VAIL MIS- - very trying, sra ana
to give 1t the desired effect The scene
between Aida and her iather was triumph for
le foreste inbasamaten with rare elan and express
si2n, most beautiful effect is produced by the
q q me sner yns Here IN Sas
opportunity for a. prims donna OF genius
to achieve a triumph. but Mile Torrlani missed
Il riyeggoS with electrical edect ana fiS VOICE iS
syts sSs Ms Zero sas,o" with %
trumpets. The entreates OF Aida to her lover to
ny with her from Egypt were accompanied by the
oboe, "reminiscences Of "L'Africaine." The con-
cuding trio between Aida, Radames and Amnasro
is OF the most stirring description. albeit it is
wall from I'll Trovatore."
OF his best dramatic effects, making particularly
liberal use OF the bass clariOnet cor Aglais To
color the utterances Of his characters. Amneris
lamentations and remorse over the cruel late OF
Radames, which her lnsensate jealousy had brought
on him, are Clothed In music Of the most effec-
I'VE ~ e1ah kna, ana @ the refusal q q the chelan ain
Ject or MS ahecton was another grand triumph
lot Campan!ni. The scene OF the trial Is very
priest In the interior OF the temple, preceded
by the Gregorian like chant OF Invocation
ditor !" contrasted strangely with the
agitation OF Amneris, who listened at the gate OF
the Temple, as did Alice at the demons cave in
"Robert" The last scene is gem and fitting
close to q work OF such magnitude. The duet Of
the lovers In the tomb, while IN the gorgeously
decorated temple above them is heard the mourn
ful chant OF the priests Isis the remorsel prayer
OF the kneeling Amneris. and the brilliant coloring
ing among the principals must be accredited In
particular TO Campanini, Maurel and Nannetti,
roles with entre success. Miss Cary sang
the music OF her part with conscientious
care and expression, and her rich contraltO
voice was shown to advantage. But the role
OF Amneris Is as exacting az that of Seika, and
every one knows that Meyerbeer's heroine de-
mands as representative prima donna possess
ing great dramatic talent Mile. Torriani's voice
has not the breadth OF tone and fulness Of dra-
matte power to ill all the requirements or such a
trying role as that Of Aida. 10 Sgnor
Muzo, for his unwearying efforts to present
the opera in q state of completeness MS
far as the music was concerned, and to Mr..
Strakosch for the lavish manner in which every
thing connected with the stage appointments was
presented, praise Is due. With such completeness
In every detail IL Is safe to predict number of
successful performances of this great work which
has been brought out in New York in advance OF
London, Paris and st. Petersburg.