New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1878-12-10
MUSIC.
THE oPERA-BALFEs "TALIsMAN."

THE OPERA-BALFE'S " IALlSMAN'D
Balfe's Craftsman" has been heard before
IN New-Yor aud yet its production last night had al
most the interest Of novelty When Miss Kellogg set 1t
on the stage OF the Academy Of Music four years ago
she retained the English text which 1t was originally
composed, but used Sir Michael Costas recltatiVes
which we're added when the work was translated INTO
Italian. She made II, in short, grand opera In
English. Considering ali the circumstances OF the
performance, IL Il perhaps not surprising that 1t
aroused but langud interest How much greater It's
popuary will be in its present dress remains TO De seeD
II Is certainly much lively and picturesque work
when interpreted by Mr.. MaplesOn's strong company
than 1t was it in February. 1873 Every
thing possible has been done Tor IT, mDe
Gerster Mime. SINCE, sgnOr CampanIni, signor Ga
lassi, and Signor Del Puente Entrusted with
the principal roles The chOruss good that they
obtained last night the unusual honor OF q re-
call and an encore The orchestra OF course
Is admirable and the Instrumentation
is somewhat ambitious this an especially
important consideration. The ensembles have been
carefully prepared The scenery, decorations. stage
furniture dresses and groupings have been arranged
with taste and hheraty What with brisk music excel
lent acting singing, pretty spectacle aud an inter
esting story. TasmanU" has certainly great many
claims TO public favor.
Considered simply as music, the work will
not rank very high II contains several charming mcio
dies IN tho ballad style; Edith, Bere'r
oaria Kenneth. Richard, each having Of least
one or two striking airs which ought 10
take q permanent place in the library Of Eng
llsh song; there moreover. scenes such as
that in the desert chapel with the chorus OF nuns and
the solemn organ, which most happily conceived.
and dehcately and POLITICALLY wrought out But
Balfe aimed too high IN The Talsman." He laid out
the opera Oh grand scale, planning many strong dra-
matte situations and imposing concerted pieces and al
ways falling below his mark the execution OF them
The finale Of the third act is example Of this defect
It begins on high level Of excellence which lls us
with expectation and ends with commonplace and weak
ness that leave us in despair
''Il TalismauO" had success in London, however,
thanks no doubt to the ability OF the artists concerned
IN the performance, ana the same fortune may
attend it mere. Edith Is entirely unlike tn"
other characters in which Nine. Gerster has
appeared In the gentle melodies allotted 10 this
heroine, and the passionate Of the third act,
the primA donna displayed powers Of which
she has only given US few Elmpses he
fore and Of which, TO tell the truth, hardly
thought her capable. sEnOr Campsninps Kenneth
was famous the Old World and 1t will be less pop
ulsr in the New. His delicious cantsbe style well
displayed In the CaraidO fore and A COLI aure
and In the moro dramatic passages he
superb, a. he awsysis In suOh music. The martial
duet between RdA and Kenneth In the third act created
an extraordinary sensation; the artists recalled
four Eve times and the piece sung thrice SRnor
Gslassiwhom 1t always the critics pleasant duty to
praise-was o kingly Richard and sRnor Del Puente
ave capital persOnatIon OF that highly dlsagreeahle
son Heeabano Nine SnicO has little 70 do III Berea0ara
but Bafe has given her OF prettest songs
opera and this she obliged 10 repeat. Her per
Torrance was distinguished usual by taste and
Judgment.