The daily dispatch. [volume] (Richmond [Va.]) 1850-1884, 1876-07-04
TcnOrs and Sopranos

In an entertaining article in the PaH-MdH
Guzette on the present condition OF opera in
England, we find stated some interesting
facts with regard to the tenors and sopranos
OF the day. The writer says that the de-
cline and fall of the tenor is one OF the I'M
mistakable facts Of recent operate history.
II there are no great tenOrs in England we
may be sure that there are none anywhere.
Italy is dragged yearly for tenors, but
though the quantity furnis he'd is great
enough, the quality is nothing to boast OF.
named Niemann, but he is already over
fifty years old, and his voice has been
ruined by struggling with Wagncrian mu-
sic, though no still retains his his
trionic power, dignity, Of demeanor, "and
those artistic intentions which are so pro-
-yoking in vocalists who have lost the power
of singing" There has been no French
tenor worthy Of mention for many years
past. Meyerbcer was obliged to engage
Signor Naudin, who even then had passed
his prime, for the part OF Nasco dl CANA In
"L'Africaine"; and when some years at
forwards M. Ambrose Thomas understood
the composition Of "Hamlct," he found it
necessary, for want OF tenor, to abandon
his original intention OF making Ham
let q tenor part, and to write it to suit
the baritone OF NJ. Faurc. At the
present moment the two greatest male
singers on the Italian operate stage are
Signor Grayiani and M. Faure-both bari
tone. "H,,' says the Palt-lHall, "these artists
possessed tenor instead OF baritone voices,
and consequently were capable of assuming
sympathetic in lieu of what are usually anti
pathetic parts, they would be invaluable
members OF the companies to which they be-
long. But it is the lot Of the baritone to
represent personages who are heartless, like
Mephistopheles, Don Juan (who, however
loving, is by no means a loyable char
acter), Ashton in Lucia di Hammer
moor" and the Count di Lunain ell Tro-
vatore :" and so excellent are the moral in
stincts OF all, even OF operate audiences,
that they will never bestow their heartiest
applause on the impersonation OF treache-
rous men whose constant aim it is to destroy
the happiness OF the dear good TENOR"
Quite as noteworthy as the decline OF the
tenor has been, the writer thinks, the dis
appearance OF the dramatic soprano, the
artist of the Pasta and Grisi type, for whom
such parts as those OF Semiramide, Norma,
Anna Bolena, and Lucrezia Borgia were
written. In all Europe Mdlle. Tltlens Is
now the one great impersonator OF these
characters, which, unless they can be played
perfectly, ought to be let alone. AS mat
ter OF fact these parts have been entirely
given up to Mdlle. Titiens. No one else
ever thinks OF undertaking them.
These are curious facts, and will be inter-
esting even to unprofessional people.
Doubtless, music like all other arts, has its
periods Of bloom and decay. Such COM
bination of artists as was witnessed twenty
or thirty years ago, when, for instance, "ll
Trovatore was given ut the Italian opera
in Paris, with Grlsi, Alboni, and Mario in
the cast, will hardly be reproduced in our
lifetime. But we should like to know what
the musical people will have to say to this
implied depreciation of such popular idols
as Nilsson and Patti. There is room here
for tolerably lively jealousy. Omnibus
hoe vitium est cantoribuS, and we should
not be surprised to hear of the Pall-MaH
critic being compelled to explain at the
.muzzle OF a trombone or cornet-a-piston.