The New York herald., 1877-03-15
ADJUSTMENTS.
"LoHrxonrN" At THE ACADEMY.

mediocre pcrformance-gave US the "lsonensrn. Va
a the operas which Wagner acknowledges this Is un-
doubtedly the most popuiarly melodlous We say
popularity meIodious because in truth they are all
melodious works. only the public, not being used 10
look for tue melody tho orchestra instead OF IN the
voices IN most of his operas fails to Gnd II. II is also
the Wagner opera best known 10 the New YORK
public thanks TO the Strakosch performances OF TWO
and three ears back So frequently has tae opera been
gwen and SO well known the plot that II is unneces-
sary 10 give It here.
Tho cast was. As folows:-Eisa, Nine Pappenhcim
Ortrud MISS Perl Lohengrin Mr.. George Wcrrenrath
Telramund, Mr. Preusser; King Mr. Bum. These are
the pri ncipal characters As Mr. Fryer has promised
10 give US these operas better than they have ever
been gwen hore, let how he has fulfilled his
word. FIRST as TO the cast Against the Elsa OF Nine.
Nilsson and Mile. Albani, we have TO set Nine.
Pappenhem. Although not vocay as fine an artistic
as either of her two predecessors, Nine Pappen'
elm has over both the advantage OF larger voice
no small advan age against wagners massive orches-
tratlon. AS an actress is decidedly uneven; In
some places she Tell below the standard OF Nilsson who
in this character equal to Abani herctical as
Il may sound say so) and in one or TWO instances
she rose the level Of loani Against the Lohen'
grin of Signor Campanin Undoubtedly the hncst
l.ohengrin likely seen in this country and carp,
we have Mr. werrenrath. OF this gentleman the
less said the better--ior MIN. Ii he
had a voice, method and litiio
dramatic feeling no might be able to 90 Sss something %
have MISS Perl We will not insult an artiste OF MISS
Cary's well known and well earned reputation oy
drawing apy compa rlson Miss Cary has magnili-
cent voice. good Stage and sings as an artse
Miss Perl has oil these qualilcaIlons Could not
Mr. Fryer have found better Orrud than Miss
rerls The duet polwecn Elsa and ortrud
in the second act was painfully discordant.
The Telramund OF Mr. Prcusser was very unsat,s.
factory This gentleman lacks the pnyslcaI strength
necessary Tor a part OF this length aud weight no
has rather nice voice, injured by an explosive DO
livery: fair knowledge OF stage business moderate
share Of musical cultivation and decided inclination
10 sing Of tune. The Ieramund with whom We
have to compare HIM Is Senor Del Pucnte, and Mr.
Preusser does not gam by the comparison The only
member OF the cast who Is better than his predece6-
is Mr Blum. This gentleman has magnificent
voice ard the added natural advantage oi fine stage
presence He looked tho part, IN tstf no small thing
and places where the music did not run TOO low
for him, sang IT i'll muscianlke manner and with
much attention TO the pitch OF the orchestra than
Is common among operatic artists Now, as to the
scenery On Monday night Mr. Fryer quito forgot his
promise about new scenery; with the exception OF
new char, map OF the United States (or sea chart
in Norwegian captains housel tho new scenery was
I,ast night tho scenery Of Lohengrin was the same
rs that by Mr. Strakosch twas not therefore tho
new scenery winch Mr. Frycrs great promises had led
us to expect In one respect nay, IN two respects.
the present company Is good l. c., IN the chorus ana
orchestra The chorus Is too small. but the voices
good. especially the soprani aud the orchestra
celient II does ones heart sood TO looH down tue
line OF first vlolins ana see ..o sucn players
Meyer; TO see Eer at tho oboe and Bohm at the
bass clarinet, Bergner aud Hoch among the violon-
celli, Pieiienschncder and other men with equally
nceabe names, but all good play ers, AT the
basses Sohste the lageoet, Listnan at the tuba,
and Gewalt and A. Eler at the important nrst ana
fourth horns. Then tue rehcarsals have evidently
been careful and thorough 1--WE mean the orchestra
rehearsalsl and Mr. Neuendorn proves himself again.
as ne has done many before to be an excellent.
conscientious and altogether an efficient conductor
The darkcnng OF the house is novelty here, and one
which might with advantage be adopted by all thea
res
attention upon the stage
contemplate. Fully hall the charming duet in the
third act between Elsa and Lohengren, disappeared
entirely last night II we may Judge Of the coming
already past ''Fyins Dutchmaa' and the 'Lohen-
grcn" performances, must add Mr. Fryer to tho
long list OF operate managers whose 'great cry and
little WOOL has deprived the pubc--charitaoIy dis
posed though IT beot all faith in prospectus promises
OF any kind or from any person
With the music Of this opera II is impossible 10 deal
the short space OF newspaper criticism. From
the opening chords of the charming "vorspcii' to
Elsas final outcry OF grief 1t is mass cl beauties,
only sufficiently contrased by the stormy and dramatic
music apporlloncd to Ortrud and relramund to throw
these beauties into stronger reicL But It's as
attention may be mentioned the following
First, OF course, tho lovely Vorspcil," well known
and al ways welcome. Then the must for Elsas
aud all that which belongs to her IN this scene,
especially her prayer accompanied by the female
chorus, brief but beautiful. Ihen Lohengrns fare
well 70 the swan and the chorus immediately succeed
ing. Then tho grand prayer first before the combat,
and the finale to the first act In the second act the
ordinary nearer is first captivaed by Elsa's mcdtta-
ton the balcony, the conclusion OF her succeeding
with Ortrud vaguely toreshadowing the PERCEPTION
the act must also not be forgotten. Next
that fresh, breezy double male chorus which greets
the breaking day, and seems 10 change Tor time tho
very atmosphere OF the drama Last OF ALL this
the procession ITSELF brim u OF loving triumph
and happiness. The dramatic interruptions OF Ortrud
and Telramund as they Try IN vain to influence Elsa
currcnce Tho third act full OF beau.
ties that 1t is hard 10 mention any without
naming almost every number In the act First
comes the wildly jubilant entr'acte immediately
followed by the well known "Brdal Chorus" un-
doubedly the weakest number in the opera, but. like
many weak numbers, a popular iavorlte. Then the
duet between Elsa and LoheDgrin, introducing
Lobcngrns calm and beautiful solo 'Athmest du
ucht mt mir die sussen Due (Dost thou not breathe
with me the sweet periume), aud finally Lohengrin's
Two solos. 'ln termcn land" I'm distant land) and
ssKommt or damn heine" (Shoud he return). These
we have mentioned as the beauties most likely to APP
peal 10 ordinary hearer to the musician the score
iu OF interest from beginning to end.
Wagncr's idea Of the individual motive" is In this
opera plainly apparent Notice for Loheng.in the
.'Gra' and Triumph motives; for Telrnmund and Or
trud the motive first given out by Lohengrin when he
warns Elsa never 10 inquire his name and rank, the
neglect OF which warning (through the persuasions OF
Ortrud) brings her all her trouble. And the threat
ening phrase hrst given out by the violoncsll ut
the opening OF the second and heard
afterwards whenever Ortrud's influence Is felt;
notice last toi ALL the hcralds trumpet CALL which,
always given IN the key of G. is introduced connu.
ally fresh harmonies and suspensions IN the
orchestra. that It possesses neverendng novelty OF
-
his "Wagner Festival" Is well chosen starting from the
Flying Dutchman' (Wagners earliest acknowledged
opera and leading, through ''Loheugrn" and "Tann-
bauser, to his latest slyc IN the 'WalkGre" 1t Is
true that TO be chronoogically correct 'rannhaser
should have preceded .'Lohcpgrn." 7" but ns ''Iohen-
grin" Is much the easier Of the to comprehend the
change OF order judciousy made. 1t Is pity
that the performances are not muscaly satisfactory.
So far they undoubtedly have not been.
sA TRIP TO THE MOON" AT BOOTHS THEATRE.
"a Trip to the Moonr buresquc upon Jules
verne's novel, YVES produced last night for the first
time in this city, at Booths Theatre under the
agcment Of the Kraiy Brothers The house was
crowded in every par, and while every
body endeavorcd TO be pleased all were
not entirely successful One reason for this that
the first night of such elaborate pccc only
hearsal and has the faults OF ncomplctcness and
uncertainty. Besides, the trip 10 the Is
too long, too taIky and too moDotonous. Who
ever wrote the dialogue is responsible Tor q
great many foolish jokes, which diu not excite
luuuhtcr II galleries.