The New York herald., 1873-11-01
ADJUSTMENTS.
signor C.mpanini ms Lionel I'm "msrtha.' !

slSnor cam AMI nj as Lionel In "martnas'
Fiotow's comic opera, Martha was produced
last night at the Academy OF Music for the first time
this season, with Nine. Nilsson in the title role.
M. Victor Capoul, the French tenore de grazfd bad
been announced as the Lionel or the evening. but
at the last moment posters were put out to the
eject that, in consequence OF that artist being
indisposed, Signor Campanini would appear
in the part NJ. CapOu's Lionel is well known
and widely appreciated, but the audience, which
was large one, received the announcement 0Ithe
change without any apparent dissatisfaction.
Whatever disappointment might have been felt
gave way to lively feeling OF curiosity as to the
figure which the great Italian tenor would make In
Flotow's cheEdGurre, which ia a favorte every
where and in England regarded often as the cru
cial test OF aspiring prime donne. Signor Cam
paninis Lionel was in every respect
success. From the solo prorl0o, in
the first act, he exhibited perfect ease
in the part and entire command or the music. His
clear chest notes in the upper register came with
out effort; and In the closing scenes, when passion
gives place 10 comedy and madness succeeds, his
portrayal OF the varying shades OF emotion was
very ine He did not act the lover In the nrst In
stance with much warmth, out his singing was all
that could be desired. There is point at which the
loves ofoperatic tenors become nauseous but Cam
panini as short OF this TO the oil being some
what cold. IL has one good effect in this opera,
we may state for what 1t is worth, namely, saving
the position OF Lady Henriette from appearing very
he has the stage 10 himself, ana can discourse in a
manner ''most musical most melancholy'' with the
audience upon MS loyelSrn 0n condition con- ne
deserved encore in "M'appari." 1t is long,
indeed, since New York audience heard
and evenly sung rendering OF this morcedu. His
acting and singing TO the close OF the act were I'M
passioned and fascinating. the air "Ah che a vol
perdoni Iddion being magnificenty gwen although
the chorus got little out OF its latitude and had
to be called TO order.
The fourth act was ruthessly chopped to pieces
the head and tail only being left, aud the fine scene
between Lionel and Henrietta, which forms the
body OF the act thrown away. THIS makes the
finale abrupt and the story nonsense; but the
ways or the pruners are lnscrutable. For Campa-
mini the performance was however, decided sac
cess.
Mile. Nilsson's Martha is too well know to the
operate world to need long notice here. Last
evening it all that it has been, and that is hign
praise. 1t was in this part that the fair artistic
first received her place In London In the operatlc
constellation. Her singing OF the Last Rose or
Summer'' was marked with the charming simplicity
and pure quality OF tone which the noble melody
demands-conditons on which many singers
reputation has been shipwrecked Miss Cary's
Nancy was sprightly performance, and II her
sauciness was little more piguant and i little
Her rich contralto was heard to advantage
throughout, and in the duet with Miss Nilsson IN
the first act she fairly divided the honors. Signor
Del Puente Plunkett was marked sue
cess The familiar drinking song and chorus s
mi dira,n was well honored with a recall.
The concerted pieces were very fairly given. The
chorus particularly we regret to say, the ladies'
the hunting chorus for female voices being espe-
cially noticeable i'll its weakness and want Of CO.
herence. The famous spinning wheel quartet
was capitally given. 1t seems almost hopeless
to protest against the fearful failure to pre-
sent the scenery and accessories OF any opera at
set with the old snow-clad Alpine background.
This scene is like the head OF the Charles the FIRST
which Master Dick, in "David COpperfeld" could
not keep out OF his memorial IL cannot be kept out
OF any opera at that house. 1t would be painful TO
continue the catalogue OF dismal shortcomings IN
this respect. The impresario may not be to blame
in this but the public Is convinced that some
thing should be done to fulnl oftmade promises on
this score.
FIRST Philharmonic Rehearsal.
This time honored society began its thirty cond
season at the Academy OF Music yesterday. The at
tendance was smaller than on any previous occa-
sion, owing, probably, to the reticence observed
by the members Of the society in respect to the
opening OF the season. Three orchestral works
were rehearsed under the direction OF Mr. Carl Berg
mann. They were Beethoven's "Fourth Symphonic
in fiat major; the introduction 10 "Loreley.n by
Max Brucn, and Liszt's best composition, LES
Preludes." Bruch's work is new and is conceived
in the true Mendelssohnian spirit There are
simplicity and poetry OF treatment in it
which are quite q relief from the noisy
and labored style OF other modern German com
posers. The composer has been known here
before through the Introduction OF the Liederkranz
Thors saSe pn wo Occasions his
mentation is effective without being ncomprehen- i
sible. and he evidently believes in the good old
OF his contemporaries. The delicious movements OF
the 'FOurth symphony formed an attractive foil to
the massive measures OF LISTS symphonic poem
The programme is OF greater musical value than
one might expect from the society, and indicates
reform on the part OF the directory and an aban-
donment OF the whimsical ideas OF the schools or
the future.
Musical and Ora m attic Notes.