, 1876-11-26
Tocal Misoenanv--New Music
0peratio Notes Here and
Elsewhere.
Results Of Bad Training in Amer
Iican Stock Companies.
Current Events at Haverly's, the Adel-
phi, and the Museum.
Green-Room Notes Collected from
Europe and America.
moVicker's War on New York Specu-
lators in Tickets.
MUSIC.

MUSIC.
At HOME.
TIE OPERA.
ThA English opera season Was the feature oil
the musical world last week, and will continue
IN be the feature this week. The advantages o1
a1ternate nights of opera have been clearly
shown during the week. The audiences have
been literally immense, aud have more than
tested the capacity Of the theatre, even many
ladies having been obliged to stand, and there is
every prospect that the same success will run
through the present week. The beneficial ef-
feyts Of rest have also shown themselves in the
troupe, which has come to each representation
with freshness and yigor it never could have
had If it had sung every night. The perform
snees Of the week have been "Faust," s'Star
Of the North,'' bohemian Girl" and sMar-
tha,'' in which Miss Kellogg has appeared iu
four Of her strongest characters Cot
eriaa, Artine, and the Lady Henrietta. The four
representations have been remarkably smooth,
harmonious, and complete In their ensemble,
and the management is to be credited with hay-
ing mounted the operas and costumcd its peo-
p]e With degree Of elegance and even brill
iapcF, especially in the "Star OF the Eortl,''
yery rarely seen here. With the general char
actcr OF the performances there is scarcely room
for fault-dnding. The leading artists are excel
lent; the chorus is fresh, true, prompt, and
spirited; and the orchestra, under Mr.. Behrens,
has done excellent work. The representations
have been noticed in detail during the week, SO
that We need not 20 over them again, with one
exception. In our notice of the ''Bohemian
Girl" We said, yesterday morning: @'The prom
intnt features Of the representation, Vocally
considered. were Miss Kellogg's singing Of the
Marble Halls ballad, Mrs. seguin's admirable
Forever PAST also By Balfc, Mr.. Conly's eff
fectiye and very pathetic delivery Of the fayorite
Heart Bowed Down. and the unaccompanied
quartette From the Valleys all Of which
were encorcd.:' In Justice to MIR. Maas,
whose admirable personation OF 7naddeus
We should also have included him In the encore
business, as he was the hero Of two cncores-
for tie ballad, ''Tnen You'll Remember Mc,''
aud also for s. The Fair Land Of Polaad.'' Six
:ncures in one opera from such au audience arc
iiometaing tot tie Kellogg troupe to boast Of.
the same opera scarcely received hand from
the first note to tue last And this brings us to
tue ve1ed question of italian VS.: English opera,
once more 4 correspondent, Musicus,' u has
llt3CSSu 2A c0sLtllzA cAUICs5lUQ u oplQluu EOu-
earning the relative merits OF the TWO, favoring
the former. His criticism applies to details
rather than the general issue, and this VIC may
state Eery briefly. There are two classes OF
opera-g8rs lp tAis city, and everywhere else in
the country. One class, aud the largest, pre-
fers English opera because it Is ballad opera,
because it eau understand it and enjoy it. The
New York Home journal hits the nail on the head
whcn it says: "The truth appears to be, the
editor believes, that the public has no longer
any particular use for Italian opera; aud he
ssyympathizes with the public rather than with
the managers. As an elegant amusement,
Italian opera, which is another name for opera:
has gone clean out Of fashion, and nothing
short OF a superlatively attractive, and, there
lore, a supcrlatively expensive pTima don
N, can 1oat eFen single season OF 1t.
AND jerome Hopkins, in a letter to the New
Aork Snn, also tells home truth in the follow
fns: "For fifteen years / have made close
study Of the rcal, truthful musical susceptible
1T Of the rank and file Of this public, the same
classes rs those who support the theatres, and
nave come to the conclusion that good minstrel
music for the people, is better than bad or even
Eood operas or symphonies, and that a public
winch IS willing to support the former will not
support the latter" The second class prefers
ta TIE Italian opera, which gives them something
beyond the balled, namely, the aria, reGtatiye
on gTander scale, and concerted fina1es of great
power and effect. Now it will not be contendcd,
eFon by "Musicus,' ~ that the Italian troupes
can produce genuine English ballad operas. With
regard to tle wants OF the second class,
no* producing Italian, French, and even Ger
man, operas better, far better, tnan the 1ta1ian
ifoupes can; and The reason is that the people,
Il Il they go to Italian opera at all. 60 to hear
tn tne sou OF Patti or Nilsson, and care nothing
ior the rest of the work. The cost OF the solist
oestructivcly expensive, if not ruinous, and
no no maoager can organize an Italian
Troupe that can produce anything like an ell
tE semple- The prime consideration, therefore, is
+asa aas me Erelish tronpes can eive better rep
pIlee than the Italian troupes, and that is the
HAoie question in a nutshell In this connection
se xe g1Ee place to the following comment upon
source:
TO the Editor cf The Tribune.
SalcAGo. Nov. 23.-1 notice in your issue OF this
@1otn1ng communication from One ''Musicus," +"
fena should like to reply to BY calling that gen
nenians .. attention to few well-known facts. He
Pa.e tae question: .'Wonld superior troupe pay
and take the liberty Of saying it most
success In building built expressly for that pur.
poe: Pos Crosos's Opera House, but It was the arst
ana only time in the history Of Italian opera in this
Glts. G Il the gentleman will confer with Manager
Hess who was lessee OF the Opera House. he will
earn M that English opera has nearly always paid,
s1. l.aan as rule has never paid expenses let
eng IN English at much less cost than those who
th nasoe IN The soft Italian The
Chicago haS S0'e one e0ase 81 tbe es' dpe;s Opera
nsr9ss noqsss in Anerica, and, after the opening
~ ~. NJ. u 4. Crosby's special ehorts}: We never
aaa good Italian troupe here asains That in Or
ssemen No mae 1 THIS snitabls t the a1 man
oi Go1, White Fawu, " and ''Forty Thieves"
Tt Tnen French and English opera were not billed:
inos sose were the only OPENS which made Manager
frnan then.