New-York tribune., 1875-02-11
MUSIC.
ENGLISH OPERATIVE TALISMAN.

ENGLISH OPERATIVE TALISMAN.
Balfe devoted to the composition OF Tho
Tlisman the very last days OF his ife aud when no
died in 1870 the work still not quite finished, few
trng gaps remaining not IN the vocal parts but 10 tho
Instrumental accompaniment. The ibretto was an En-
gsh dramatization by Dir. Arthur MathisOn OF ST Wal
ter scotts novel Until last night we believe the opera
had never sung in its original FORM When 1t was
brought Drury Lane last June the text was trans
lated into italian, and Sir Michael Costa supplied
rectatves instead Of the spoken dialogue, besides COM
petng few unfinished portions OF the score. With
Nine Nilsson, Mile. Marie ROze. sig Campanini Sig.
Rota, and Sig. Campobeo ir the cast, "The
Talisman" enjoyed a profitable run, and 1t was
accepted by many Of the most careful and pleas
ing OF the composers works That 1t will secure long
lease Of the italian do not believe It's forms
already anquaed. The grand opera OF the present
is constructed upon a very different model, and tho
grand opera of future viii offer still stronger
trast the succession OF ballad duct rhythmic
chorus, aud finale with display pieces for each OF the
eadug characters in turn which constitutes opera OF
the school to which Bafe belonged. To the limited
repertory the genuine English stage however, which,
with its alienation OF dialogue and seems very
well suited by the old conventional opera, The Tails
MAI" ought prove valuable addition. It's melodies
prettily conceived; its accomplishments though
they compare unfavorably with the rich scoring OF
modern writers, show considerable vivacity and good
taste its story interesting. and It's situations are pie
turesque.
play follows the novel with reasonable ndeliy.
1t divided three Acts played by Miss Kelloggs
company four. and introduces nine characters tho
cast last night being as follows:
ereugara, Queen Of Miss Beaumont
King Richard Cenr de Carleton
SIR Kenneth; tho Knight of the Leopard. MT: Mas
Nectabanus, Slave to Queen Berengaria Mr.. Peakes
Baron de vaux Mr nlchos
DUKE OF narst0n
hlng OF Caya
There is no formal overture. but merely a brief aud
striking introduction, in which are prefgured two
melodies belonging to the second Act The curtain rises
upon Arab encampment in the desert, with martial
chorus, followed by brief scene between the Bmr
and Sir Kenneth and bass and tenor duet in praise OF
We are next shown corridor n the desert
sanctuary OF Engodd, where EdiM enters to the
accompaniment OF orchestral symphony, with
passages for horns, fIte, clarinet, &c. sings
an elaborate aria and e. solemniy softly y.
It Is built upon the conventional and familiar
plan, beginning with recitatye passing thence
into suave larghetto melody, and closing with
animated bravura movement The slave Neetaoanus
next has air of somewhat grotesque character.
alternating between the major and minor keys and the
scene changes the interior of the chapel where Sir
Kenneth watches Edih as she moves with the Queen
and procession OF nuns. chanting the " Salve
Regina" She drops flower before Sir Kenneth as she
passes and this gives the text for the tenors chief aria
Flow'ret I kiss thee" melody in Balfe's happest
yeiu snatches OF which recur now and then in later
scenes. as the "leadng motive" is introduced in Wag
ncrs operas To the representation OF the altar in this
pretty there be reasonable objection, but
the religious ceremonies BY roOed priests at the altar
are not fit subjects for theatrical imitation.
At the beginning OF the second Act the tent OF Kin0
Richard is disclosed aud the baritone has his first
opportunity in the melody, d" Oh who shall sngi" The
second scene devoted to the quarrel between Richard
and Duke OF Austria over the placing of the stan
dard, and contains impressive prayer by Richard
e. Monarch Of alll. Sir Kenneth, left alone TO guard
the English standard beguies the solitude with recita
tive and aria introduced by for the viola The
with Nectdbanus who comes to tempt the kngh from
his post by pretended message from Edih, presents
some dramatic contrasts, but It is not IN such
mens that Bae appears at his best. In the pavilion OF
Queen BerenGarid. however, We have some charming
music-a female chorus; pretty romauza for BsrenOdra
O. Beneath portal y slow melody in t0ree move
ments for Edith called The Story OF EYene;
duet In which Edith gives Sir Kenneth the ring cherished
by him as his Talisman and shield battle :" and
concerted finale introducing ali the principal characters
SIR Kenneth, banshed from the camp for abandoning
his post aowlng the standard TO be struck down,
has returned in disguise aud aoned FOR his fault by
saving the Kings life. The third Act which Is shorter
and less interesting than either OF the other wo is
taken up with the restoration Of the Knight TO favor tho
disclosure his true rank aud title Prince OF Scot
land the union OF the lovers and the return OF the
pediIion 10 England.
opera achieved in England due principally TO tho
exceptional excellence Of It's representation Last night
to tell the truth, found 1t dull, and the seemed
astonshingly weak There three numbers, and
only three. which likely TO have long popularity
and they are all In the simple ballad style. These
the two sentimental songs for Sir Kenneth, "Fow'ret
kiss thee" and "on balmy wings" and the lively song
for Beren0arta in poacca measure Beneath Portal
They all models OF their kind The two principal aras
for EdiM derived q certain charm from Miss kelogg's
and tender delivery but they will not bear crit
cal examination. for they not excellent all through
the simpler pieces are. The concerted music Is uni
forinly thin and commonplace. and the voice parts
are merely accompanied by the orchestra-not re.
enforced.
The chief point In the representation last night was.
Of course, Miss Keogg's EditA, to which We can give
unreserved and most cordial praise. The next the
capital Berenodrid Of Miss Beaumont The male ohar-
acters satisfactory. The orchestra was. per.
baps large enough for OF the voices it had "a