The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1874-04-05

Mr.. Strakosch closed yesterday a very 70.
maraable season Of Italian open at the Acad-
envy OF Music The penitential season of Lent
seems to have had no depressing effect ON the
acknowledged taste Of the New York public
for everything that is excellent in music.
Formerly the term of sackcloth and ashes was
regarded with decidedly doubtful eye by the
musical manager, and opera and concert
during that terrible time were entertainment.
to be stealthily patronized and Mrs Grundv
would frown at any of her subjects daring
enough to visit the Academy or Steinway's
between Mardi Gras and Easter. Mais. nous
auons change tout celia. Never III the historv of
the metropolitan musical stage has such .
brilliant season been known as the one which,
closed yesterday. Six weeks of Italian opera.
with the best company which has ever ap-
peared in this country, eliminating in mag
nitcent representation of the opera of the
future, par excellence, ssLohengrin," in which
Nilsson and Campanini have reached the
highest pinnacle of lyric art; brilliant sea-
son OF opera bolGe during which Mile. Aimee
was the bright, particular star Teutonio
very clever parody on Wagner's opera at
the Germania, an exceptional attraction
in the concerts of Mr.. Theodore Thomas, the
six ''Stabat Matters" at st. AIMS church BY
Mr.. Dachauer, and myriad small affairs,
testify to the intense love Of the New York
public for the divine art of music. And
Easter brings new attractions, especially Di
Murska, who will appear tomorrow evening.
No other city in the world can exhibit such .
iecundity Of musical attractions.
The production of Wagner's opera, s'Iso.
hengrin," which may be regarded as the chief
representative of the new school, generally
known as the school ''of the future" has excited
considerable discussion among the musicians
Of this city, All agree upon the wonderful
genius shown by the composer in the instru-
mentation Of this work The opera of s'Lohen-
grim is magnificent symphony, and, as far a.
the title sublime. But it is entirely faulty in q
vocal point of view, and is founded on a per.
nicious principle. 1t tends toward the utter
humiliation OF the individuality of the vocal
artist, although Nilsson and Campanini have
successfully asserted theirs in the teeth OF
Wagner's theory, and it makes the orchestra
despot, which is contrary to the first prin-
ciples of opera. Wagner is egotistic to
such a degree that he ignores all
who achieved success before he was known.
For singing Wagner substitutes declama-
ton; for melody, chaos The fierce on
slaught which the admirers of this modern
Messiah make on all who do not agree with
them cannot help his cause here. Elaborate
theories, with impracticable results, will
never make school Of opera. There is mora
real music in the quartet Of '.Rigoletto," this
quintet Of sErnani," the sextet of ''Lucia''
and the many magnificent ensembles Of Meyer.
beer than in anything Richard Wagner has
ever written. We are willing to grant
oil that is in justice due to Wagner for
his wonderful Instrumentation, but we de-
cidedly object to his making an abattoir Of
voices in his operas Individuality in vocal
as well as instrumental art is necessary for Q
complete opera.