The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-02-11
A M u S E M E N rs.
ENGLISH oPERA-FIRsr PERFORMANCE

ENGLISH oPERA-FIRsr PERFORMANCE OF
BALFE's LAST WORK, ''THE TALIsXfAN."
1t Is now forty-six years since the most prolific
II not the most eminent OF British musicians nrst
appeared before the public as an opera CON-
poser. Strange TO say, bis nrst effort was made
on the Italian stage. the opera OF IL RI
vali'' being produced In 1929. From that
time to the period OF hts death, nine years
ago, he display ed q fecundity OF invention
and talent in lyric works thoroughly Rosslnian
In extent and richness Like the swan OF Pesaro,
Bale seemed TO be very wellspring OF melody,
and ballads were as indigenous to him as
strange combinations OF orchestral cooring were
to Hector Berlloz. Therefore the announcement
OF work by him which was scarcely completed
land there were few gaps left in the score,
which have been since skill July f,ied up) when
he was overraken BY death, was o strong
inducement for the music.lovng public
Of New York to don opera cloaks kid
gloves and other paraphernaiia OF nrst
night ana turn their ears resolutcly against the
chant OF the ''Seven Penitentia Psalms, the music
en- regte Tor the commencement OF Lent, aud drink
IN fresh draughr from the fountain OF melody,
which, sprnging nom the soil OF the Emerald Isle,
| mas spread itself over the musical world. The
Academy Of Music last night was comfortably
| once fixed fact. Like Verdi III '.AYda" Bale
| in his last work has acknowledged the growth OF
! the modern opera in Its dramatic requirements,
and mas made long stride toward Instruments al
effects, thereby acknowledging the very important
to the theory OF the later Schools XII Inc sprli
OF melody never deserted him. and in ''rne Tails
man" may be found some delightful airs all The
more acceptable on account or the rich irame-
work OF Instrumentation in which they are eX.
Mbted; Passing over tho short orchestral pre-.
Is q very interesting number iull OF quaint
devices Oriental In character and Astounding
neaF7 mar sHs's spirit pervaaS y TIE ss
duet OF Sir Kenneth (Mr. Mass and the Emir (Mr.
Hamilton), "Goiden Lovelocks" rs a walf IRON the
earlier creations OF Bale, pretty and flowing in
IT'S measures me prayer OF Edith miss Kellogg)
'.solemnly. Softly" is beautiful, expressive
breadth OF expression, but written rather low for
soprano voice, unless one OF peculiarly dra-
matte quality. whose lower notes are strong and
telling. capital song Is that of.Nectabanus (Mr.
Peakesl, ~ love the sky when no bright
tralture OF the evll-mnded hunchoack. slave.
This was written Tor high baritone voice and
deal OF the music; but so clever was his actnS
and defamation OF the spitelul feelings OF the
character that he won the rst encore OF the even
ing rhe music OF the chapel scene is OF a strictly
ecclesiastical order, and the ''Save Regina"
might easily be carried into the church OF the
most eXactlng OF Catholic pastors without betray-
Ing the slightest faint OF the lootllgnts. The
ABBOT ana assistants on the altar might be dis
place and as offensive TO the religious feelings OF
large number or the musical public as were
| Cuelr predecessors Ill the CnurCn in
Faust when l.ucca first appeared.
\, Next came the principal melody OF the opera.
the celebrated "Rose song" written especially
for Sims Reeves 1t IS love ldyl-a gem such as
Bafe or Wallace alone might write, and yet 1t re-
| called TO the mind the great tenor aria IN Don
Sebastiano." which 1t somewhat resembles In its
rich. undulating measures. 1t will share the pOpu
larlty long ago gained by ''rhe Power of Love-" IN
NERVOUSNESS perhaps and the hga n' and t tpVn1
character OF It's tonaty exercising baletul effect
upon his voice. Some striking effects in the ac-
| m nani u ich
each measure, and the cor An0lats ooIigato being
' Richard Ceur de Lion (Mr. oarleton) had the
| first scene Of the second act to himself in q nne
| Ballan song and apostrophe to the Queen, and in
| which the chorus of Crusaders Joined. The march
introduced IN this scene was not particularly efec.
tive. aud the dispute on ST. Georges Mount APP
| peared to be OF chaotic order, as far as the
chorus Was concerned In the scene in the Queens
| pavilion there were three notable triumphs and
The first was most charming song, rendered
| by Queen Berengarla MISS Beaumont. the second
descriptive ballad .'rhe FAIR Eveline,U given by
Edith, and the third an imprisoned duet between
me soprano and tenor edith and Sir Kenneth)
Hna ale of 81 Martr" This duet s,ry hr or sae
| down the house. In the last act there Is grand
professional march and brilliant rondo. IRA.
diant Splendors," for Edith both OF winch are
sufficient to bring the work to fitting conclusion
The performance last evening had many ele-
Kellogg persona ted Edith Plantagenet IN that
finished and artistic manner that might be ex-
pected rom SuCn CONSCIENTIOUS artist, and IN TWO
or three scenes she surpassed many OF her former
successes IN roles with which ner name has become
! Identified. Miss Beaumont, who mas become favor.
lite with the pubic during the present short season.
won fresh laurels In the r0le OF tnc Queen, and
| Mr.. Mas albeit at times overweighied, made
| SIR Kenneth Interesting IN lyric point OF view
| out emotionless ana apathetic rs far as dramatic
! eXigencies were in question. Mr. Carleton was
In excellent voice and did justice to the music OF
! the King, and Mr.. Peakes made Nectabanus a
feature. More rehearsals and better discipline
would be OF advantage al tine chorus ard Orches-
vel
skill and discrimination, and prevented any mis-
hap.
The opera has all the elements OF success in it.
and when every department. Is IN good order so
That at least perfectly smooth representation
can be obtained there IS little doubt of It's becOn-
lug permanent feature In the repertoire oil Eng
lisn OPERA Mr. Hess the director, announces q
second performance OF this work on Friday even
ing the last night OF the season.