The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1874-03-26
AM U s E M E N rs.
Italian Opera-..Lohenxrin., D,

italian Opera-ssLohengrin."
Richard Wagner's representative opera was re.
peated at the Academy OF Music last evening,
with the same perfection OF ensemble that charac-
terized Its first represen tatlon Nilsson as Elsa,
Campanint as Lohengrin, Cary as Ortrud. Del
Puente as Frederick OF Telramund, Nannetti as
King Henry, Blum as the Herald and Signor
Muzio, with his well trained chorus and
orchestra, numbering $50. There is lit
tie to ada to our previous remarks Of
the efforts Of the artists in the cast; but to them
and the manager Of the opera belong all the praise
that can be bestowed. The school OF music which
this opera represents is pernicious one hurtiul
alike to voice and ear Richard Wagner deserves
the credit OF being persevering man-one who
has worked his way to his present position against
the most discouraging obstacles. This is one plea
that his admirers put forward for him, but
1T Is 1imsy defence. Brigham Young ana
responding spirit OF perseverance in their own
spheres, and yet they can hardly be held up as
Is reflected in his manner OF dealing with the lyric
drama. II Is all very well to talk OF the purifca
ton Of the operate stage from the trivlaltes with
Here Is absolute despotsm, under which
no artist, no matter what favors genius
po pos SPns assert pavaua This nn6e
melody (endltche nselodse), this continuity OF
thoag6s, this utter annlhilation Of indiydaality
W
obliteration of detail as such in opera looks very
we'll in theory. The practical part 1t Ia dierent.
Wagner is not true to his theory otherwise he
would not interrupt the course and development
OF his musical dramas by such timeservlng,
never drop the curtain upon one or
during the entracte is liable to lose the continuity
OF thought. the Wagnerian theory Of the music
drama, IN its full meaning, is something that
future generations will Experience the same
trouble we do In approaching. 1t is an mp0ssl-
bility when reduced to practice. Take the finale
OF the first act OF "LOhengrln," for instance. 1t Is
supposed to be sung by solo quintet
Elsa Ortrud, LOhengrin, Frederick and the
King, with full chorus and orchestra. The artists
In the quintet might as well be pantOmimists,
for no five human voices could ever De heard amid
such a storm or choral and orchestral elements as
that which accompanies them. Why, then, write
parts for the sOlOists when they cannot be heard
Then the duet in the second act, between Urtrud
and Frederick, is nonsensical In musical point OF
view. Unresoved chords OF the diminished
seventh constantly afflict the ear, and q
dreary waste OF recitative is lett for the
hapess pair to traverse. This "ln1nite
melody" may be more properly termed
an infinite longing alter melody. 10 Mr.. StrakOsch
and his excellent company all praise is due Tor
what they have done for the ''Zukun1tn opera; but
let the same enterprising manager place on the
boards OF the Academy grand opera by Meyer
beer, ROssini, GOunOd, CLICK, SpOntini or Cheru
blni and we augur Tor 1t q more genuine success
than for any work OF that vocal slaughter house,
the "Zukunfr" school,