The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1874-03-24
A NJ u s E M E rs.
Italian Opera-s.Lohencrtn.


The production OF new work on the Italian
opera stage must always be subject of interest
to music loving public like that OF New York.
When this work is, besides, one Of the chief repre-
sentative lyric compositions OF new school, the
tenets Of which are entirely revolutionary in
spirit and tend to subvert old ana established
forms, the interest is UNNECESSARILY increased.
Such was the attraction that drew together last
night in the Academy the largest audience Of the
season. Richard Wagner's "Lohengrin" can
not be regarded as an absolute novelty
in this city, in consideration OF its
frequent representations at the Stadt Theatre; but
when we reflect upon the muilated and lncOm
plete manner in which 1t was brought out at the
Bowery opera house ana the truly grand and
effective performance in Italian last evening, Mr..
StraKOsch Is surely entitled to the honor OF being
the first manager In America to put TO practical
test the merits Of the school 1t represents. And
here a word OF praise is due to the enterprise
that gives to the people OF New York the
WORK that Is talked about so much in Lon
don and Paris, and yet has never been heard
in those cities. The bitter warfare that has
been waged in Europe over this question of the
emusic of the future is likely to find new field
of action in America No one can always trust to
the first Impressions produced by work of the
magnitude of "Lohengrin." without espousing
the cause Of classical absoutism nor yet that Of
the stormy republicanism Of the ''Zukunftn dis
cipies, approaching sometimes to the intoxication
Of Communism, we can but accept middle course
and CLEAN from both opposing parties those opin-
ions that seem to be most in accordance with the
dictates OF reason. On one side Is tradition, stern
and unalterable pointing out the PATH and
the only path, in which the composer must go; on
the other the theory Of individual destiny, spur.
ring one on to bold experiments. new paths and
daring deeds The spirit of the present age in
chnes towards the latter, but not to the reckless
extent That Wagner's admirers would cOunte-
nance. Berlioz, the acknowledged father OF this
school sol the future" was never guilty OF the ex
travagance which now generally characterizes it.
The main defect OF Wagner's music is its utter
realism. He leaves too little to Imagination, but
insists upon demonstrating his musical treatment
OF lbretto as II it were geometrcal or algebraic
problem. He treats music as science only and
ignores its existence as an art. We fear that the
average Opera-gOer viii never subscribe 10 such
theory. The remarkable inventive. capacity Of
Wagner In orchestral cOlOring, and the scenic ap-
plication OF the same cannot be Overestmated, ana
In "Lohengrin" 1t is particularly prominent, but
voice as merely an additional instrument to the
orchestra, and robblng 1t of the liberty OF magma
ton, expression and sentiment that constitute the
chief charm OF opera. when great lyric artist Is
tied down by memorable rules In every scene and
is absolutely tyrannlzed over by the orchestra, the
first conditions OF opera are violated. Such Is the
case in "L0hengrn."
Everything that liberal management and i'm.
mense operate resources could effect was brought
to bear on the production of this work last night
The chorus was nearly eighty strong and the or.
chestra sixty, with twelve additional trumpeters
ON the stage. The long and severe rehearsals to
which that admirable cher dOrCneStre, Sign0r
emmanuel Mnzlo, sa9}ected MS iorces produced
performance OF such sUupendOus work on the
first night: The mise en- scene was entirely new
and quite in keeping with the spirit OF the subject
Nothing has ever been presented at any OF our
dramatic houses to surpass in spendor and
brancy the dresses, armOr5 and other properties
incidental to the piece 1t placed on the stage In
such lavish manner that the audience. IN an out
burst Of appreciatiive o enthusiasm called Mr.
contented until the principal artists unearthed the
blushing impresario from some hiding place and
brought him forward, Muzo also came In for
liberal share OF applause, The cast was remark
ably strong one. We subjoin 1t.
Elsa Nine Christine n". Nilsson
~ da,p 6 S Paa
Henry, King Of Germany signor Nannetti
Synopsis Of scenery-frst act plain on the banks OF
s ae Of # e scSea third act
or the principal artists in this cast two are en-
titled to praise OF unstinted kind-Mme. Nilsson
and Sisnor Campanini. Admirable in every
cinating in a creation like Elsa which harmonizes
SO well with her poetical spirit Nine. Nilsson last
evening won another lyric triumph, the value of
which may be estimated from the serious strain
upon the voice and innumerabe technical di1l-
Of wc she Sae 'Ss Her oysy
voice, IN its crystalline purity oil tone, sounded
strangely soothing after the nerce struggle
! Frederlck-and the empowering orchestra. And
here after nearly thirty pages In the OF the
| onera NAV be found the first air or melOdc form
| that can be construed into one, ''Cnto d'us.
| beroo.D Throughout this scene, until the arrival
! of Iohengrin, the interest centred upon Elsa,
| and in her spotless white garments and gentle
mien she gave faithful portrait OF the falsely &C.
! cnampiOn TO take up her cause was de-
! livered with rare beauty and feeling and
| without any OF the demonstratlve spirit with
! which It is sometimes married. The next gem in
her role was the exquisite "Aurette, cui 81