The New York herald., 1874-10-15
Am o S E NJ e N T S.
italian Opera-Ruy BIAS

At6h8n OPcIu-xA0y DAWBs
The first novelty OF the season was presented
last night at the Academy OF Music. FIJI ppo Mar.
chctti. young Italian composer. brought out
lyric adaptation Of Victor Hugos celebrated
drama, "Ruy Bias" at La Scala, Milan, over five
years ago, and since that time the opera has been
frequently performed In Italy. Last night 1t was
heard for the first time outside the native
land OF the composer Mr.. StrakOsch may
well claim the distinction OF enterprise
as an impresario. He has already given Us
"AYda," "Lohengrin" and "Ruy Bias" in advance
OF the principal opera houses OF Europe. The
opera last evening was placed on the stage with
completeness in every detail, and the cast was
very strong consisting Of Mme Potentini as the
Queen of Spain. Miss Cary as Casilda. maid OF
honor, Signor Carpi as Ruy Bias. Signor Del
Puente as Don Sallust SlgnOr Fiorini as Don Curl
tano. Mr.. Fecnter has made the metropolitan
public SO well acquainted with the drama that 1t
Is only necessary to say that the libret0 embodies
the main features Of the original. The opera is in
four acts and the incidents are Identical
with Victor hug0's great work. The composer
evidently has taken "La Favorita' as q model, for
"reminiscences OF that opera are very numerous.
The music, as we have said on former occasion,
is thoroughly italian, but cannot accord 1t the
standard OF Verdi or D0nlzett which 1t initiates.
The prelude is rather pretentious. but not
effective, and comes to an abrupt conclusion. At
the rise OF the curtain the peculiar Instrumentation
OF phrases in chords OF sixths does not
give favorable idea of what follows.
the orchestral coIoring Of Don Gurirano's
first scene with Don Sallust The latter person.
age has rather pretty music in the aria "Piu
d'ognt bene in terra" and Gounod comes to the
aid or the composer IN the succeeding duo. The
lyric interpretation OF the passionate words Of
1Qahln the theme. although 1t IL
quently repeated throughout the opera IS
not inviting; A semi-barcarolle % dnet between
the tenor and the baritone which follows Is also
commonplace. "reminiscences OF '.Un Ballo
in Maschera" comes in later in the continuation OF
d0nzella.h is unworthy OF grand opera few
bars OF la Favoritan engage the attention OF the
sna at ensh we the st decided melody
Of the opera 20 madre mia" given n Gy Is. the tenor
Te then s1T ony o
Gounod next comes in for the Queens
qrii Quintet with with chorus without accompaniment
This received an encore last night. The succeed
the the weakness OF the Instrumentation. Traces Of
tiles Huguenot ts" may be found In the commence
ment Of the tnd ac the best in tine opera Ruy
Carlo QuInto," but marveously like ''Er-
nan." The next is a duet for soprano
seenceS ane Of % passng over the dne
for tenor and bass, an effective number, we come
TO D ulo UU0te OCtct WIFI CHOTuS, SbTOuRy UuHL
and imposing verdi's viOletta is heard In tenor
form in the beginning Of the fourth act and the con-
tralto sings another characteristic Spanish song.
pretty duet for contralto and baritone follows,
and then comes gem terzetto for sopt ano, tenor
and baritone. Nine. Potentnt had an ardu Gus
role and she gave entire satisfaction BY her
artistic rendering OF IL. Miss Cary, one Of
the genuine stars or the operatic stage.
repeated her successes OF Amneris and Ortrud,
and Carpt interpreted the title role with voca!
ability OF declded character. Del Puente, one OF
the most reliable artists OF the company, made the
role oi Don Sallusto one OF favorable prominence,
and Fiorini failed to invest Don Guritan0 with any
interest. The opera, as may be seen from our
brief r6sstae Is full OF "reminiscences II not abso.
lutte plagiarisms, and the demonstration Is devoid
OF virile power. There are a lew numbers In 1t
that may be regarded as catching and over
which the average opera goer will IN.
music, sensuous and moving though 1t be.
is not robust enough for the tastes OF musicians
accustomed to Meyerbeer, Verdi aud Wagner.
There Is . want OF postttveness In his lyric Illus
trations. The opera was placed on the stage with
all the finish and splendor that IL demanded ana
as far as the management or the company were
concerned nothing was LETT undone to make ~
grand success. But weakness Is one oil It's INNER
ent qualities.
Steinway Hall.
Mr. Frederic Maccabe, who has acquired IN Eng
land so great reputation as humorous charac-
ter delineator, appeared last night at SteInway
Han, in his amusing and original entertainment,
"Begone, Dull Care.n The performer made de-
cdedly favorable impression on his au-
dience. His power OF changing voice,