The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1874-02-24
A NJ u s E M E N rs.

Season.
There was glamour OF the Pharoahs' age OF
Niletic magnifcence at the Academy last night.
The Strakosch Italian Opera Company inaugurated
the spring season Of opera with Verdi's remarka-
BILE work. "AYda." We have already criticised the
musical merits Of this opera at length and pointed
out Its strong points and Its weaknesses Its FIRST
production was the entering wedge into the Rip
Van Wrinkle policy which has so long characterized
the management OF Italian opera In this city.
The brilliancy and historical accuracy OF the mise
en- scene, rivallng the best EFFORTS OF dramatic
managers who have heretofore claimed the mo-
nopoiy OF grandeur Of stage representation, mark
an epoch In operate management The cities Of
Thebes and Memphis and the Oriental "Father Of
Waters" are represented with hfeiike erect, as
they existed 1000 years ago. The costumes are no
less faithful to history Signor Campanini looks as
II he walked out OF the Pyramids, Invested
OF the mummy's swathing clothes, after score or
80 OF centuries refreshing sumber. Mlle Torriani
mas the traditional costume OF the Ethiopian prin.
cess, such as Bruce or Beke would delight TO di.
late upon, and M. Maurel Is the untamed BedOuin,
whose very appearance one must associate with
camels, burning sands and wandering tribes.
very charming princess is Miss Cary whose dress
combines the seductive attractions of q Cleopatra
and Bayadere with the dignity Of Zenobia.
traditional appearance, whether Egyptian. Dru-
idic or Hindoo, Of this important parsonage in
grand opera
The performance last evening was signazed by
many points Of excellence such as marked the
first representations Of the opera. Mile. Torrtani
repeated her very com mendable impersOnatIon OF
the title role, and, considering the fact that she
had more real hard work than any Of the other
characters, and that the music Of her part called
for unwonted exertions as far as her voice was
concerned her success is sufficient to stamp her
as an artist OF q very high order OF talent.
The first aria OF the prtma donna IN the
second scene OF the hrst act IN Which the struggle
stormy and passionate duet In the second act with
the Egyptian princess, the exciting scenes with
orable scene in the tOmbs beneath the temple. IN
which the love Of the slave princess is sealed in
death, were rendered by Mile. TOrrtani with O de-
gree OF power and vocal effect that calls Tor COM
mendation.
the trying role Of Amneris by wealth OF vocal
power, keen appreciation OF the varied demands OF
the composer and an amount OF dramatic excel
that made her one OF the principal attractions Of
But to sigfor Campanini despite the fact that
ne was laborn9 under an almost uncomfortable
hoarseness, belongs the chief share OF last nights
honors. The music Is very brilliant, but at the
same time very fatiguing to the tenor. Espe-
ciay in the third act Is this perceptible The role
OF Radames may De considered as the best OF Cam.
M. Maurel proved himself again one of the most
accomplished barytones that have appeared for
many years on our operate boards. The duet with
Aida iii the shird oct on the banks OF the Me,
owed much OF It's effect to the sorority and beauty
of his voice, the finish and Intelligence Of his
school Of singing and his dramatic talent There
may De az absence Of the cloying sweetness OF
opera opera but in the ADAPTATION Of fnusicar
thoughts TO the demands Of the various
situations Of the libretto very high place In the
lyric repertoire must be accorded 70 It, It is eni-
nentiy dramatic music sort Of cross between
Meyerbeer and Wagner. The numerous reminis-
cences Of otper composers which we pointed out
at Its first representation are used With reference
TO the exigencies OF each seems, and al
Enough some may cavii as this new de-
Hesitation Of power, II not absoiurS genius,
shown in this, HIS latest work. The subject OF the
opera necessarily calls for quaint melodies and
strange Instrumentation, but the impress OF
master mind Is over all One consolation is that
the music OF Verdi IN this opera never ind les
way into the lawless hands OF organ grinders or
parlor pianists. 1t is Of too elevated tone to be
degraded in such Q manner. 'tAida' Will be re-
peated on Wednesday.