New-York tribune., 1874-10-15
MUSIC AND THE DRAMA.
MUSIC.
THE NEW OPERA-RUY BIAS.

The "Ruy Blasp Of Filipp0 Marchetu Wab
first performed La Scala. in Milan during the spring
of 1862 and then has made the tour OF italy Win
no slight success and been heard we believe In some
of the cities Germany and Spain, though II mas never
reached either France or England 1t s the second
work of q young composer upon whom rest many fair
hopes of the lovers of old and fast vanishing schoo
OF italian OPERA the school OF DOnizett ana Beh''
with its salient melodies displayed upon the sc noiong
OF a drama with which they have no essential con-
nection. He v engaged upon another opera 70 10
produced at La Scala next season. Mr Strd-
kosch has possibly done we'll In selecting
"Ruy Bias" as one Of the novelties OF
tho year IN New-York, for 1t has many
qualities which will win for certain measure OF pop
usr favor, though Marchett Is not likely to stay the
decline of the style which ne represents We had Id
this bright and snowy opera no indication OF strong
genius and no marked originality. Its beauties all he
on the surface where the least attentive and least
cultivated listener can readily apprehend them They
differ neither form spirit from the happy Thoughts
Of of other italian meOdsts, ana they are iui
OF ncongruous "reminiscences Of a multitude OF com'
posers--of Gounod Suppc, Strauss, OfenDach' ana
above all others OF Verdi in his earlier manner Tue
distinguishing merit of Marchetu is auency in the
production melodies and skill In the arrangement OF
the conventional operate naes The scena. the aria
the duet tho chorus the peszo concsrfao follow one
another with regularity and they are separated by
the usual sOpgaps of recave which serve Doth 10 sou
off the tunes as a Jewel il displayed by dark BACK
ground and to give tho principal artists chance 10
take turns the exhibition OF their powers Inc or
chestra never obrudes itself upon tho voices IL has
M story of s own to tell sentiment to convey, no
consistent idea to carry forward through the develop
mept Of the drama; ia merely the monstrous guitar
for tho accompaniment OF arias.' "Kiy BIAS III
short is the typical Italian opera, with all It's sehsuous
charms. its intellectual barrenness, ana its emu
tional insensbility, from which the world dur
haa
steadily drifting away Ii Is the sors
of opera which answers well for evening OF fashion
able amusement, having the requisite SIX OF seven
pretty melodies to rouse the attention OF tue mousse,
and proper proportion of conversationnusc tha'
will interfere with gossip in the boxes not an opea
that will live but that will be sure for time OF an
applauding audience 1t opens with Prelude
NJ three or four minutes length. The flute gives
ont a short phrase, repeated afterwards with
some ingenious moduations and changes OF instru
mentatiOn, and seeming to Indicate the luhuameh"i
idea Of the opera.-but we soon discover that Kuy
Bias" has no fundamental idea, being merely string OF
graceful aud easy melodies. The viooncel and Vioie
then take up a rather solemn movement In TWO parts
a sort Of canon in which the other strings and the
wind instruments join, and after some enecliVe
for the horns and trumpets the curtain rises
upon hall in the royal palace of Madrid. The nrst
number is duet for Don SalIusio (baritone) and Don
Gurtano (bass), "Cone protegga" which Is likely TO
have a moderate popularity; the second part
" Piu d'ogni bene," is perhaps tue pest
OF It; the finale is brassy and vulgar. The sue
ceeding aria for Don Saliusti0 is notable for the
pretty accompaniment of horns with which 1t opens
scena and duet by Saustio and Ruy Bias enor Is
pleasing enough but tho device of giving R"y Bias an
amorous revery mostly in soft monotone has not been
wholly successful. There is next weak quartet intro
ducing Pedro and Don Fernando Second tenor and
second bass and the Act ends with the approach
Of tho and
attended by brass band on the stage. The chorus
which bears the burden of this finale and which recurs
several times in tho subsequent parts OF the OPERA Is
very simple The first Act as whole Is dull. Tue
second Act represents garden attached to the palace
aud the business begins with little chorus OF women,
dance measure in G8 time, leading into and occasionally
interrupng grand scena for The queen (oprano) and
her maid of honor Casilda properly mezzo-soprano
but represented by Miss Cary in the course OF which
The Queen has impassioned andantino melody, 20
madre mia" ceverly written after well-worn pattern
The balata for Casida is one OF the principal snow
peces-not very pretty ITSELF but exactng display
of vocasm which will always win applause for 1t II 1t is
properly executed, it certainly by Miss Cary
After a bit Of rustic chorus from without, The Queen
has her grand scena, "Sola CO. miei prensier.
with an andante sostenuto, "Larva dorata,
full Of grace and feeling But Marchett though he be-
gins many things we'll finishes most of his work badly
and the beautiful andante changes into very
mon allegro agitato with heavy brass accompaniment
The next number contains an ingenious vet simple
quintet and chorus, unaccompanied, wnlch
was heartily redemanded IL Is followed by
dull duet between Don Gritan0 and Ruy Bias; but the
finale of this Act erzetto between The Queen Caida,
and Ruy Bias is exceedingly effective. The third Act
opens with in the Council Chamber,
chiefly valuable for a vigorous decamatory
aria for the tenor, in which q charm
ing andante movement. 90 Carlo QuintO;" and
close upon this succeeds soprano aud tenorJ duet,
which closes with ecstatc passage in the very best
manner OF the Italian school, Sig Carpi making point
at the end by splendid high chest c, and sustaining
a prolonged A and A fat repeatedly during
the piece 1t Is with the third Act that the
interest Of the opera really begins There is but poor
duet for the encounter of Ruy Bias and Sauso; but
concerted finale of the nsauonal pattern Oberates
the impression Of this res0me NUMB and brings down
the curtain In round Of applause. short and by no
means remarkable Prelude introduces the third
act, the scene being cabinet In tho
house of Sallustio The opening tenor is rather
graceful but 1t married by unsatisfactory
panlment and the two succeeding numbers, scena for
baritone and an arIetta for contralto, trivial. We
have something pretty and neat, however In lively
duet for contraltO ana baritone and there is great
dramatic force and trio for The QUEEN Ruy
Bias and Sallustio,a piece conceived In higher spirit
thing else in the opera and showing something
like inspiration Nor does the good genius Of the COM
poser desert him In the succeeding duet tRuy Bias and
The Qeen with which the opera comes to sentimental
and not Ineffective end. The impression produced by
this scrappy and jeune work as whole is
certainly not deep one, and musicians will set little
value upon yet dare say t may catch the breath
of popular favor and give little impulse to season
which needs stimulation. 1t has been placed on the
stage careful preparation and some good bits OF
new scenery exhibited though there has not been
much attempt spectacular display. The cast was as
follows: