The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1874-03-24

she Is watched by the vengeful eyes or Ortrud ana
Frederick from the steps or the Minister. In this,
as In the succeeding duet with Ortrud, in which
the tender heart OF Elsa inclined 10 IOr-
sons singing was worthy OF her established lame.
me concluding part OF this scene, when Elsa
invites Ortrud to enter with her into the Keme-
nate, Is one OF the chief meOdic features OF the
opera. Passing to the first scene OF the last act
the bridal chamber-where both the voices OF
which seems nterminabe, Mme Nilsson rose TO
the emergencies OF the occasion and went through
the difficult music unialteringiy. II was, indeed,
throughout an exhibition OF lyric genius worthy or
better subject than the "Zukunir' school can
worthy companion picture to the Elsa OF Nilsson
was the L0hengrin OF Campanini. It was In action,
singing and appearance the beau ideal OF the
Knight OF the Holy Grail. His costume and make
up was Surprisingly effective, and the grace OF
act0n that charactertzes all his 0peratc imper-
sonations was mere shown to rare advantage. The
song addressed TO the SWAMI very delightiuI
ntorcedu Of meody-in which the tones OF his
clear, sonor0us, well balanced voice were first
heard gave promise OF lyric success IN the role
which was entirely fulfilled before the swan bore
him away again from the banks Of the 5cheldt. OF
subjected that Of the roe OF Lohengrin Is the most
terrihly trying.
1t Is strain Of the most severe kind from begin
ming to end and rarely gives breathing spell TO
the artist. The tenderness OF voice and manner
In the scenes with Elsa was as artisticay shown
as the majesty Of demeanor and heroic spirit that
marked him above the mobiles of King Henry's
Court. The duet in the bridal chamber. which has
few sparkling gems Tor the tenor and the
fine scene in which Lohengrin reveals his true
name to the Court were delivered with surprising
effect by Sgnor Campapini. the success which
Won for HIM IN Italy, even from unwilling German
critics, the title OF cOnsummate artist cannot fail
TO attend him here 1t must De subject Of regret,
however, II Signor Campanini will continue to
subject his fine voice to the ruthless measures OF
Wagner
excellent traits, as one would look for IN the pos
SCISSOR OF q cOntralt0 voice OF exceptional power
ny ase c 70 zoe
being designed for mezzo soprano, and much or
II lying above the compass OF Miss Cary's voice,
powers; but the mpersonation was not up to
her usual STANDARD or merit. The terrible
depressing erect '' upon signor Del Del Pa s
and yet 1t Is hard to conceive how on earth any
artist can achieve success when storm OF brass
Is hurled at him every time he opens his mouth.
Nannetti, one OF the best bassOs we have had here
for many years, labored under similar dis
made an unequlvOcal success mad they been
heard throughout, but human lungs are limited.
trumpet or the reed OF q carlonet Herr Blum
struggled man1ully with the unvarying difficulties
attached to the position OF army crer. 1t is absurd
to expect any voice to last under such constant
strain.
Words OF the most hearty commentator are
manner in which they fulfilled their share OF the
work. Some OF the grand clmaxes in the opera,
as inc e eef oa S sg ss ne
prayer before the combat, the overwhelm-
Ing dnate OF the first act, the male chorus
peters on the stage announce the dawn OF day,
the professional chorus on the way to the church,
concluding "Enrico vival were ali given with
an effect that spoke Of careful train.
ng leader and willing
with which those choral numbers abOund-and we
shall refer to this particular subject again-the
execution and spirit shown at this first perform
ance Of the most difficult work extant call ior
high praise. And by Si0nor Muzio and his worthy
assistant Mr.. 6 BehrenR. this state thinUS was
broug hit around.
With ears and eyes deafened and blinded by the
and the glitter Of pageants such as the Academy
boards never saw before except in the case OF
AIDA" after four mortal hours Of "amusement''
OF this description we suppose the reader viii
naturally inquire nom US, What is the upshOt
Of all this grand operate ensemose9 and
ers Dc as Steady for e
average opera-gOerp We reply that as long as the
poor singers hold out and the endurance OF the
listener is udiciOusly kept up by extraneOus means
"Lohengrin'' will be standard attraction. But
young ladies will never MARBLE its melodies" nor
keyboard OF piano. We conclude with an extract
| from an eminent English critic on Herr Richard
Wagner
ming composition With dscOrd; but can any 'mSs
OF the fuuren advocate deny the necessity of rcsolvns
$ssofa anEsssysd, at the end Of his so$pOs tts
spect be held to differ from the music Of the past 0
shsnss is gsrpssiSa that Know sSscsI,
hsr we are Hf ae on
regard to tonality Then, as to melody is not this h,
hs hs oss de a
oes not a e e% the
n9o DID he ever write such MELODIES as those Of ws
from beginning to end Again. is it recommendator
DC Of e nn of # nS mpe,
ment from what is music Of the future' developed
cept the caprciousness OF Germans Inner conscious