The New York herald., 1873-11-27
A | D A
verdfs Lntest Work-First Production
OF the Opera i'm America.


verdrs Lntest Work-First Production
OF the Opera i'm America.
yerdi's latest work-hls Egyptian opera-com
posed at the. instance OF the Khedlve, was pro-
duced at the Academy OF Music last night for the
first time in this country. And for the hrst time
in q long series OF years our Italian opera was
presented with an effective mise en- scene. In all
there are seven scenes In the opera and each
Is perfect in itself. The hall In the palace OF the
King and the interior OF the temple at
Memphis are not only excellent pieces Of scenic
art, but they architecturally and hieroglyphi-
cally exact The remark applies to the scenes
OF the second act hall In the apartments OF Am
ners, the daughter OF the Egyptian king, and the
entrance to the city OF Thebes. The third act rep
resents the banks OF the Nile by starlight,
and the painting is as effective as the best
work in any OF our theatres. The hall in
the kings palace in the last act is ex-
ceedingly massive, and the transformation
to the temple OF the gods. beneath which is the
tomb of the lovers, is brilliant in light color and
architectural adornment The costumes, too, are
very fine and historically accurate. All this work.
we are told, has been brought from Italy, the
models being the same as upon the production of
the opera at Cairo and in the Italian cities.
AS to the opera itself, 1T is not by
any means what is claimed for it-namely
the cher d'Gurre OF yerdi-rhough no one un-
acquainted with the fact that Verdi is the composer
would suspect it to be his work. 1t Is utterly
unlike anything he ever did before. No opera now
on the stage goes from extreme to the other
more completely For instance, the close OF the
second act is picture brilliant that the music
would be mere noise but for the life aud magnii-
cence OF the surroundings. The third act on the
other hand, is entirely devoted to the plants
and plans OF the lovers aud The fatal interpo-
sition o: Amneris. This act requires the
highest art to its adequate Interpretation,
and the soprano part on which its success depends,
not adequately filed last night. But the opera
itself was a very great success success SO great
that Mr.. Strakosch was tumultuousIy called before
the curtain at the close OF the second act Much Of
this success was due, however to the scenery, and
| we think this ought to be a lesson TO managers
when they produce such great works OF the masters
| as lie Prophete,n "LAirlcalne,if .'L'Etoile du
| Nord,u .sWillIam Tell,r la Juive.r &C. to put
them upon the stage with an effective mise en-
scene -
| The prelude to the opera. short though il may
be, is key TO the new style in which this latest
phrase for the yolins is portrait OF the unnappy
Aida, slave, where she should be princess. All
through the opera where the heroine appears this
phrase occurs, and Is an admirable specimen OF
that realistic writing SO successfully inaugurated
by Me, erseer and Berlioz 1t is not unlike in spirit
caine" introduces Ines. short iugue, with
the subject taken from the grand march
Or ss % With is yar% s s s,rs
Towards the close the style leans towards Wagner.
AS the curtain went up, disclosing view OF King
tervew between the High Priest and the Captain
OF the Guard, Raaames, represented by Signor
Campanni--the first solo for the latter was heard.
AJdnfdre followed each phrase OF the preceding
recitative as response to the soldiers
is remarkable more for the entire novelty
OF the accompaniment than for melodic beauty.
The flute accompanies the voice In thirds and
.fy bc yUhi a 10 in ~ wary
measure, con sOrdini. The oboe then takes up the
melody, with the tremolo OF the nute, producing a
changed again TO a beautiful figure for the violins.
Signor Campanini's costume ana make up as the
cay Correct; and the clear sympathetic @ i
tones OF his pure Italian voice. which re-
mind one more and more a each performance
OF poor Giuglini, gave an emotional aud tender
rendering OF the lovers apostrophe TO the Ethlo-
plan slave. Miss Cary then entered as the repre-
sentative OF the naughty Egyptian princess.
Amneris, a character evidently modelled after
Meyerbeer's Selika. A very beautiful theme lor
the violins accompanied her first greeting OF
Radames, and an allegro agitato e presto
movement, also for the strings, gave a
peculiar coorng to her first passionate expressions
OF jealousy. This movement Is frequently repeated
throughout the opera wherever the jealous nature
OF Amneris is TO be delineated. A thoroughly YER
dian theme accompanies the Princess hypocriticai
expressions OF sympathy for her slave. The first
entrance of Aida in this scene Is prefaced by the
clarinet The trio between AYda. Amneris and
Radames is very dramatic in expressing vividly the
various emotions that agtate the breasts Of the
three characters. IL was not however, delivered
with the intensity OF passion and effect that it de.
manded.
The entrance OF the King and the High Priest
Ramds, with a gnttering suite, was heralded by
fa,ltdre OF trumpets OF the most approved Meyer
beer pattern. The first grand chorus OF "Wari
revealed the nervous strength OF the composers
new style and might be mistaken for a waif from
Wagner. The King, Signor Scoara sung with
spirit and ofect the aria ''Sul del Nlo.n melody
OF popular order and one that readily found its
way into the hearts OF the audience. IL was re-
peated again and again by the chorus with
most effective instrumental accompaniment, the
figure for the violins resembling the finale OF the
overture to 'Tannhauser.r The prima DONNA
Mile. Torriani, then had scene for herself, Illus
trating the struggle between her love for Redames
and her duty towards her country, expressed by. a
peculiar and most un-verdan theme, not unlike the
style OF Weber, The second part, allegro oiusto
"Robert' about IL. The address TO the gods OF her
country, 'Numi. pieta,u was delivered by Mile.
Torrani with degree of spirit that none OF her
previous impers0nations OF operate roles led TO
expect. 10 gave expectations OF inisned rcnding
OF this trying r6ie which were not iuned In the
subsequent scenes
The second scene. representing the interior OF
the temple, began with very quaint theme OF an
oriental character, chanted by Mile. Torriani and
afterwards taken up by the chorus. This subject
Is presented again in the last OF the opera.
The address of the High Priest, Ranhs (Signor Nan
nettil TO the gods is framed In meodic subject OF
breadth OF expression and dignity which was after
wards taken up by the chorus with wealth
OF instrumental effect that Is not surpassed even
brought Renaissance or Halevy to the mind.
Tie dance OF the prestesscs IN this scene Is OF
the happiest efforts OF the composer. The instru-
mentation is very peculiar. The wild, barbaric
theme Is presented as n trio tor three flutes at
first, and then single note for the oboe, repeated
at intervals gives fantastic colorng TO the sub
ject II is thoroughly original and presents an in
teresting study for musicians. .t. .jt 4fyl.t.
The female chorus in the commencement OF the
second act Is another SURPRISE being utterly unlike
verdis former style. IL is very erective and
for wonder-thanks to the exertions OF Maestro