New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1873-11-29

SECOND pERFoRMANcE or AIDA.

SECOND PERFORMANCES or AIDA.
The second performance of Aida" was better in
some few points than the first. and although 1t dld
not call forth the same vigorous expression OF sur
prise and delight which abounded on "Wednesday
evening it was watched with unfagging in
terest and pleasure by crowded house
The intermissions have been somewhat short
ened. so that the curtain falls at II
o'clock. The action has gained little in
smoothness and the concerted numbers have been
generally improved, while the principal singers as
they become more familiar with their parts, make a
hatter and better impression. The Aida of Mile.
Torrani is indeed rather weak in certain trying
passages but the young lady sings with great taste
intelligence, and feeling, aud in the superb third
Act which constitutes IL. finest part OF the opera.
she was admirable. She has ttIee remarkable num-
bers here. which follow one another without pause
the charming rOmanza o celi azzifri,' the duet
with Amonasro. marked by such strongly eontrasted
emotions, and the duet with RGdames ip which
Verdi's old melodramatic style alternates so
forcby with his new and nobler method
and if she did not make of these three glorious
opportunites all that the score allowed she seemed
at least fully sensible of the elevated character of
the music and put forth all her strength, with n
very creditable result. In the last scene of the
fourth Act her duet with Rdddmes was as tender
and a. neat IA the most exacting critic
would have 1T. Hiss Cary has in Amreris
a role not less important than that of
Aida and it can truly be said that she surprises her
best friends by the force of its Interpretation. She
has made wonderful progress in her profession
during the past two years, and realize that
she adds to "a beautiful. sympathetic voice and a
simple and beautiful style, high order of
dramatic talent. She is young, earnest, and
richly gifted her studies have been
ted n a
career before her. Her 1Brners is unexceptionable
in every point of view and gives her position con-
siderably in advance of any she has taken before.
Sig. Campanini makes pleasant impression in
the first part OF the opera by his singing of the deli
cious romanza Celeste Aida" which he gives
with beautifully soft expression and that ardent
feeling which he knows so well how to throw into
music of this character 1t is in the third Act. how
ever that he exhibits his best powers. His duet
with Aiia, 4" Pur Ii riyeggo," and his share in
the finale are in his most spirited
manner and in the death scene he
gives one of the best illustrations of his skill
in cantabile passages that he has yet afforded us
We need hardly add that he bears himself CALAMITY
all through the evening. NJ. Maurel has but one
really important number and that is the duet with
Aidd "Rivedra lie foreste." of which have
already spoken. 1t is perhaps the most perfectly
artistic performance to be in the whole
work. Sig. Nannettis mellow and well
trained voice does justice TO the music of the high
Priest Ram6s, and his manner is appropriately
dignified and venerable. We cannot praise
the chorus freely have praised the
principals, is Sig. Muzio always sue
cessful in establishing good understanding
between the orchestra and the singers yet the rep
resentaton AZ a whole deserves cordial praise not
only for the spectacular splendors to which we did
Justice the other day, but for the care which has
evidently been taken to give accurate interpreta
ton of the music.
The opera is well worth all the pains that can be
spent upon It, second hearing confirms first
opinion that it shows remarkable advance over
Yerdis previous writings. Ii is not mere success
sion of formal arias and trios and strenuous naes.
Ii is an elaborate dramatic structure in
which voices, instruments, action, and ac-
cessories are made TO cooperate in the
general effect after fashion which the composer of
Ernani" has never attempted before. On rare oc-
casions, not more than twice, if we remem-
Der right in the whole opera, he reverts to his old
vulgar device of strainng the voice against a full
brass accompaniment. with trumpets and from
bones in unison with tho singer. As
rule his accomplishments surprisingly
rich. varied. and eloquent, deserving quite much
study AZ the vocal score. He uses the strings much
more freely and vigorously than he used TO, and
keeps the brass in better subsection. Like Wagner.
he delights in giving picturesque prominence to the
reeds. These are well handled by Sig. Muzios play
ers but his band lis not strong enough in violins.
The construction of the vocal parts shows progress
quite much the instrumental score The
difficult terzetto in the first Act "Vieni dletta"
(which does not 20 very well yeti is not only a
brilliant piece of dramatic writing but fine
specimen of ingenious counterpart. The
two duets in the third Act, despite their
momentary lapses into the old style are
conceived in most scholarly spirit
all the music allotted to Amners abounds in little
fragments Of delicate beauty. deftly woven into the
texture; and that assgned to aida is generally in a
lofty vein Yet, we have said before. At Is clear
that Verdi has not finally liked his principles of art
At the of CO. his style il still developing and his
next opera will probably DO something still in sd
vance Of thls ono