The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1876-02-12
A M u S E M E N T S.

ITALIAN OPERA-MLIE. TITIENS AS LEONoRA IN
ola FAvoRITA."
Thrty-two years have passed away since the cele-
DRAFTED Bergamese composer, Gaeano Donlzett, who
shares with Mercadante the honor of being the last OF
the Italian dramatico- musical writers of an honored
school, rudely broken into by the iconoclastic Verdi
introduced at the Grand Opera Paris, his opera, ola
Favorita Coming before tho public in the same year
with LA Fglia del Reggmento' and II Martri it
was time before received the share Of popular
favor which its entcng melodies and dramatic effects
in music entitled il to among the sixty odd operas
of this prolific composer In 1S49 Maretzek
introduced it to tho New York public with the
following cast:-Leonora Nine. Truh Fernando,
signor Benedetti; Alfonso, signor Beneventano
Baldassare, .sgnor Novelli. In 1851 the grandest
representation OF this opera that has been given in
this country introduced steanone salvi Badial and
Marni an immortal quartet in the recollection
of those who heard them. Six years later Gazzaniga
Brignol and Amodio appeared in the opera and there
was since that time no notable performance of the
work until Pauline Lucca essayed the title role assisted
by vzzan and Janet Mile Titens the latest repre-
sentative OF the Kings favorite the three other lead
ing roles last night being distributed follows -
Fernando, Signor Brignoli; Alfonso, Slgnor Taga-
| PETRA Baldassare, Signor Reina. The hbretto
and It's subject hardly be considered worthy OF
the great dramatic abilities of Mile. Titens. Only at
the close of the third act and in the fourth act had she
opportunities afforded her to display those grand his
trionc qualities which distinguish her from the singers
OF later schools and recent styles of lyric imper
sonaton. The brilliant house that graced the Academy
last evening waited mpatently for the first appearance
OF the prima DONNA and the tenor and the basso
ceived little favor in the first act When Mile Ttiens
after the polkake chorus of ladies that introduces
the second act made her appearance she was greeted
| by outburst OF applause She began with her i'm
passioned address TO Fernando, "Ahl milo bene, +" in
which, despite the commonplace orchestraon, which,
10 those mbued with the progressive ideas of operate
Instrumentation OF the present day. sounded If the
mass of instruments was intended 10 BIO used huge
guitar, the magnificent voice thrilled every The
succeeding duet with the tenor in unison might well
have been a solo, for the prma donna's voice COM
pletely absorbed that OF BrgnoL In the next
act Tagliapietra decided popular
Ieonoraj which was encored The following
duet between him aud Mile. Titens, ''In questo
suo, " was gwen with wonderful effect.
The rendering ofthe aria, ''Ah milo Fernando" by
Mile Titens was something 10 be remembered even by
those who heard Lucca few seasons past in the
number. The fine dramatic ensemble that follows the
defiance OF the King by Fernando discovering that
ne had been decoyed INTO marriage with the Infamous
'bella deRe showed that unwonted degree OF caro-
had been bestowed upon the chorus and orchestra
MI hRretzek Brignol IN the last act sang the roman
"a "Spirto gcntil,N with his oldtme sweet
ness of voice and expression and gained
well deserved encore. The pisziodto OF the vions in
part Of the accompaniment although marked plants
stDO, was given IN the loudest possible manner. The
voices OF the monks tneid chiesa sounded more like
those OF registering party than Of religious choir
The concluding scene, In which Lconora meets her
lover for the last time, was great triumph for Mile
TteDs The prayer, "Pietoso al par del hume, was
delivered with heartfelt expression and the exultant
"E fla yer, 10 m'abbandono." where Leonora
is forgiven by the husband had discarded
her on the day Of her bridal sung with that
intensity OF passion and breadth OF vocal power that
seemed to carry the entire house into the realms Of
frantic enthusiasm. Apart from the music OF this
opera which probably the best written by tho
composer the stupidity Of the bretto is calculated
make any adhere TO the theory of Wagner in his
plan OF model musc-drama The drama OF "Narcsse -
with the notorious Pompadour, would furnish SUBJ
iect somewhat similar to that Of ia Favoritan to
the operate composer, far more effective than that
which DoniZetti wasted much good music Brig
noli last evening, apart from his single in
Spirto gentil " anything but favorable repre-
sentative Of the gallant Fernando Reina simply
unbearabo and the minor parts very nefciently
illed matinee OF "Il Trovatore" viii be given to-