The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1877-04-12
ADJUSTMENTS.


ssDoN CARLOS"
A. the plot Of this oprora has already been pub
lshed in these columns we need not recaptuals u,
but give attention principally 10 the musical por
ton Of the work and prepare our readers
Tor an intelligent enjoyment OF the performance 10
iakc place tonight Tho opera opens in the Forest OF
roniainebleau with very short prelude, consisting
snly Of eight measures Of horn calls before the cur
lain rises This followed by lew measures OF cho~
rus accompanied principally by continuation OF inc
samo horn passages) and these scraps Of cho-
rus in their by the 1rst rectaiive
and ara for Don Carlos student will ind this rect.
tatvc and aria strongly colored by Meyerocef-sms;
indeed may be we'll stated tor all that these
abound throughout tho work. The aria, though short,
contains some original harmonic progressons and Is
vocally smooth and flowing Another rccitstve leads
10 tho lis duet soprano lElsabstta) and senor
(Caros. The succeeding scene and finale arc pr'oc'-
paly noteworthy account OF the chromatc descent
10 the orchestral BASES the conclusion
and Tor the TACT OF this ending with single voice -
stead Of grand smash In tho usual Style
Tho next act, opening in the convent OF 81 1us''
commences with a unison passage in the orchestra Of
value whalever-a passage which has neither moan
ing nor originality. The chorus Of monks which FOL
lows IL purely Verdi tho old school, II is principally
worthy OF notice and remembrance from the fact that
It's first two phrases used for the conclusion OF the
nth act and last notes VIC hear ~ the curtain
falls Tho recatve OF Don Carlos, which follows 10
interrupted by monk, who gives tho identical words
and music used by the ghost OF Carlos v when
II appears in the last ac. Tho immediately suGcsoung
duet Tor tenor (Don Car0sl aud baritone (Kodrigo)
Is likely 70 be immense favorite, ana We
shali be astonished n u Is not encored every
night AT the words, sDi0 che mel rdind fou-
iesei - We arc introduced 10 an idea In thirds,
which IS used more later III this same act. We
have uext a female voices, III 0iardi. pro-
fnmaton in which there are some novel Phrases OF
accompaniment, and which. IN its turn leads 10 IN
aria for mezzo soprano (Evo, the much talked Of
sCansone del veio. = In this song Verdi has prodoced
m extremely original effect by writing 10 the key Of
A but retaining the fiat seventh &c naturally the re-
sui. OF which liberty is 70 give tho harmony and
melody a Wild barDarc character by means VI once
and legitimate This is followed by scena De,
tween soprano lEllsabettah mczzo soprano tEool)
tho baritone, about both q winch winch nothing
level with most ballads. and the scene IS principally
series OF broken EXPLANATIONS 70 continuous orches-
bcta aud tenor Don Carlos) which succeeds, ~ one
OF the strong numbers Of the opera; IS almost al
Don Carlos gives phruse which ELISABETH alter
ward uses with tine effect the lew measures OF
prayer with which this number ends make nne con-
irast the preceding merry passages An exceedingly
good Tor Elsabetta with choral refrain, enis
tie act as here played Inc naroaSc'o s,a ana
est act IN tho opera, musicallyl are .ise
cut; consequently the act commences with the
uuet between tenor don Carlos) and mezzo soprano
(Eboh) which In style oreshadows some portions
Of aida" This masters latest and best work The
trio which follows Of the finest numbers In tho
act Tho finale, which Immediately follows, ~ very
long and very magnificent Thomas played II a. the
Central PARK Garden concerts several times that II
will not be entirely new. The occasion OF this
finale is grand trumphal procession, anu the music
IS thoroughly in keeping Just before the entrance OF
Fhippo q herald sings unaccompanied melody,
somewhat queer IN form; but Just Ms tho heralu
reaches the ast note the chorus tako up the same mel
ouy FULLY which has very pleasing effect
AT the entrance Of the deputies commences one 81
those line concerted pieces in the writing OF which
Verdi has no rival We have five solo voices, two
unisos OF and the chorus divided into
SIX parts Tor voices' all working out their indvid-
ual dramatic ideas freely yet all combineS. We do
not remember any concerted number TO equal this
even among ycrdi's other works--csrtainly mono "
ac, S-. Verdi probably thought necessary to
u sop to the public after pitching one TO tbs masi-
Cans and SO Winds up with rather eommoupaoe,
commences with IN aria for the bass (Flip-
POI aud then follows duet between w.. S
OF this duet is not promising, but
II improves rapidly At the words OF The inqusi.or.
.'Ritoaia al tue docern there is wonderfully novel
piece Of harmony and orchestraton that will haunt
one Tor days From here TO the end OF the opera we
have Verdi ut his best The remaining act and halt
was flung leading up to his next and greatest work.
s.Aida" With this broad statement We might end.
but we wish to draw attention 70 soine u ne enc,
10 oil the fine numbers which must Dot be passed
IN silence. II consains-like the finale Of the
previous act. though in lesser degree-m0re
Of that freely indIvidualizcd writing which stamps
Verdi great master OF concerted composition.
sccna Tor soprano tEbo), which IL one OF the
finest solo numbers in the whole opera. The COM
mcncement 40 Don Fdtdie," IS nnc, but the succeed
ing canta5,ie 80 Mia Regina Z" is better, and makes
wish 1t were twice the length II is, Tor II IS very
short Then comes a thoroughly dramatic Duet ior
(Dou Carlos) and baritone tRodrigo). which In
cludes the death OF Rodrigo aud introduces US
yet TO the subject in thirds, Of which We
spoke IN noticing the duet IN the second act between
these same characters fiery scene between Don
Carlos Fihppo and a fine dramatic concerted finale
The curtain rises the anh ac,) 10 the music sung by
the monks at the opening OF tho second act. This
leads into grand scena Tor soprano (Eilsabclta),
pal motive OF this Is one OF those happy thoughts
which come but rarely to any composer; We mean the
phrase occurring ~ the words Sdncor 81 piange in
sisio " /, perfectly natural, yet II Is new
II seems though we had always known II, yet We
never before heard H. To confer these Feelings u
listener strongest proof any composer give
ofrcal originality short duet for Don Carlos and
El'sabctta when follows - broken into by
TiIippI, and his entrance the brief nnaIc
with Its numerous and rapidly changing
shades Of feeling, Is commenced. This finale
dramatic than mcodc, but just before the ia OF the
curtain the ghost OF Carlos v. gives the words ana
music previously sung by the solo monk IN the second
and the chorus repeat the rst phi oil the
chorus OF monks In the same scene, the music dying
away the curtain falls. This is one oil the lew
operas that do not end in grand bang nnd crash
As readers will See, VIC have not only not given
the plot above, have not alluded to IT, All we
have had 10 do with now Is the music. To prepare
our readers for In proper sequence point
out those numbers and passages which ut the perform
ance tonight will best repay them Tor close attention
has been our only aim.
sTklNwAY HALL-oLE BULLS FAREWELL con-
CERT.
numerous and fashionable audience assembled last
night in this spacious hall to listen to Oo Bulbs last
concert in this city previous his departure for
Europe. And, indeed, II Is probable that New York
has heard the great volnst Tor the last time he
will scarcely ever again tempt the stormy ocean or
wander from his northern home. As fitting the
nu No
Of the programme, had an opportunity
of admirng his wonderful skill and his absolute
mastery over his avore instrument His playing OF
.Fantaisie ct Variations de Bravuren arranged by