The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1874-02-27
ANU S E M EN- rs.
Italian Opera =" Les HuSucnots" I'm
BrOOklYn.

Italian Opera - "Les Hugucnots" In
Brooklyn.
There seems to be little appreciation for lyric art
in the City Of Churches An opera oot6e. circus or
negro minstrel troupe would probably receive
attention, but Italian opera is left severely alone
with empty benches Not all the attractions OF
the best opera ever written, "The Huguenots."
presented with an admirable ensemble, which. II
not possessed of the elements OF greatness through
out, had at least SUFFICIENT merit TO commend it to
the patronage OF any music-l0vtng public could
draw even fair house. We're the management to
present the same work in one OF the tabernacles
with which Brooklyn abounds hundreds would be
unable TO procure seats, but within the dingy walls
OF the "opera house" the public seem to have an
objection to venture. There were some new
features in the presentation OF Meyerbeer's i'm.
mortal opera. They were Mile. Ostava TOrriani
as Valentine, Mile. Pauline Canissa as the queen,
NJ Maurel as Nevers and Signor Scolara as St.
Bris.
Nile. Torriani labored under the serious dsad-
vantage Of succeeding Nine. Nilsson In one Of her
best roles but she nevertheless, won genuine
triumph. The duet with Marcel, in the
third act, In which valentine tries 10
save her lover from the consequences of the
impending duel, was interpreted by Mile. Torriani
with passion and dramatic feeling that gave
effect to the magnificent music. In the grand
duet with Raoul Ia the fourth act that cher dsuoe
effective. The scene makes large demands on the
vocal and dramatic talent OF the prlma donna,
which were satisfactorily responded to ON this &C.
CaslOn. or course those ineXplicable qualities OF
genius and magnetism which characterized this
scene at former representations were wanting,
but all that pure, sympathetic, flexible voice and
high cultivation In good vocal school
could effect was impressed into this duet
by Mile. TOrrani. Mile. Canissa was an
excellent representative OF the very difficult role
or the Queen. She sang the nOrid music in the
second act with brancy and intelligence. and
her varied experience as an operate artist was
shown in the CONSCIENTIOUS manner in which she
fulfilled all the requirements OF the role. Her voice
Is admirably adapted for bravurG passages and
where In ether less capable hands the scene with
RaOul, in the second act, would be indistinct ana
to certain degree unlntelligible, the trained
method and careful pbrasiDg OF Mile. Canissa stood
her in good part.
M. Maurel changed the sombre gloomy chsrac-
ter OF ST. Brs Tor the gay, volatile spirit OF Nevers
The finished style OF this artist makes every
operate role he essays interesting. His noble
barytone voice and fine stage appearance, united
to dramatic talents OF no common order. brought
out the best points OF the role or the husband Of
Valentine in bold relief The st. Brls OF SignOr
Scoara was not particularly interesting beyond
the tact that he sung the music correctly. 1t Ia
unnecessary here to add to previous remarks
the Raoul OF SignOr Campanni, the Marcel OF SignOr
Nannety and the Urbano OF Miss Cary. Suffice
1t to say that they are the best roles In the roper
tOtreS OF those distinguished artists The orchestra
was admirably handled by SignOr MuziO, and was
faultess. The chorus was not as good as on for
mer occasions when this work has been repre-
style that deserved better house.