The New Orleans daily Democrat. [volume] (New Orleans, La.) 1877-1880, 1879-12-09

The French Opera

how u particalarizA the genera idea which
rervadea rs. The Instrumentation Il IA rau-
erfuI. ill., ideas - new the system Ana aS.res
sion so scientific that Thoughts q The music q
the Future and "Reminiscences XII the tu1ra artal
Meyerbeer followed and haunted " even lit u
be sacred table There thFaana- AZ ,h@ day A.
written.
We heard Aida again last night AID she
veil that covered it, haaaties ii hAit aav@iiet
nov. After carefa4 a1s!iton wr aaa that era!
In Aida il himself entireiy and W force H.
pleasant Gation 0t HI having been .rsaifri TIL
Meyerboer Aida Is az We can noU aIpre-
ciAle. purely oriGinAI. AMI. II scne aa.ts.
unique. a. witness the dnet hr,weeD Aida aad
Radames II the third act which las IA c1fFe4-
ative III the whole reper:ary.
The maestro fl this. hts latest aad sran3est
WORK hA4 evidently intended 5 shre that II he
was d master In every way ~ HE o!i sensa-
tional school. as exempliaed III Il TEsSaiorr
a1d La Trayiata NJ which melody lreiamt
mates he could also equal the masters Q! the
modern school IN the manaSemea; M harmony
and ifs adaptation Ia the musical repras ruia.
ton Of dramatic history,
Id Aida be hAs proved hts comrlce mas.
terry. and We 30 not hesitate to say iha. be has
ecuAled ii not snrpass ed. In his la%t work THE
tai musical draMAiisi McYerhcar
Aida was fret represented a. Cairo = lS7I h
GyuAF Oh ne hLHAlNtr WHO AirAEiAA t6A lI4A~~
frAte the FIRST DAYS ~ fEyp' A. kra The MAESTRO
for chef druvrH WORTHY 9! the glorious
ysr1i ~ onae LAW VIII, wealth aaala w. sath
cred from the acea INFLATED treasures q. legend
AIRY days and created Aida
The prelude l. Au admirable symphony
wherein the master deA 81 the work Is ex-
pressed, recurring AZ iatervhs - ihr drama |
Progresses. Thr onrntnE romance. w.il sAnk |
ity. and does not In the least prepare thnaf3l- |
ence fer H. bold Innovations which arn iii .a! |
Then comes the due; ii wAich Amnerts ,ae
Kings daughter. Miss Anna de E4ilocaA5. lis
closes her love for RAdahes TAe WAalr scene
Ii admirably conducted
Aida then steps H. fa.l II love also for In /
DANES, yet with fhe ileA Al country IL hrr I
danes is made leader Z the hosts that are ie
oyeiwhelm her aonutrTmen layn ge-
stronger than patriotism. and AHA buFets
forna Vincltor" MA singer expresses Hill
idea Ia AL its phases admirably
The scene that follows represents tha interior
of the temple NJ Vulcan. and u thr aaa -tan M
ne Introduction ~ The maestro NJ nntty" melo-
dies. somewhat partaking u the Wild poetry AZ Fl
sacreai dances These Ire mar'st" CORRESPOND
with the choir Of the yrtestess which We are
transmitted by oral history ana originating
from most ienlnte antiquity. Verdi has >howa
lions il modern must III HUI 1 WV that ant I
only they do not IT with. but contribute mate 1
rally 70 the harmony Of his work All this
scene II admirable ard WA, sllenatdly inter
pre- ed BY the choruses ana orchestra,
In the second Get the opening SCENE betwann
Aida and Aunnris II mastery. The au hor !
nature aud his power Of expression The {
KINGS daughter knowing thai the Ethiopian
girl loves her own beloved takes cruel pleasure
In torturing her With the false news OF h.
death on the battle field and With tho hone
based upon her woma9ly pride ends ty w.
acknowledgement Of her falsohooa. In this scene '
Miss Ringer Is tremendous Sla Is In flpt IF
Throughout. Miss Belloera interprets the part
with much feeling AMI Intelligence. but lacks
pearanct Ia nil 10 her favor and she looks every
inch kings daughter. Ia the beginning o.
the scene. however. she phrases with much art
and passion the vieni amar INTO.
This musical conversation between the two
lovers Is admirably conducted. The language
goes for nothing. and the intelligence of
SPOKEN words Is useless. The music gives
pill the idea. It Is inmatera whether the
language Is understood. the master Of music
ponrs there into the very soul ~ the audience
the workings OF the minds OF his personages.
The caressing phrases Of sweet music In which
Amneris endeayors TO wrest from Aida the ~
cret OF her love; the passionate feeling OF Aida
that bursts forth In tremendous eloquence
ately uttered by her rival ALL even u the III
concealed hatred and supreme insolenee OF
Amneris. when she has found out her rivals
secret aud contemptuoualy acknowledges her
article. is so ad mirabiy portrayed by the must
clan that the whole drama Is made clear without .
The finale OF this net is perhaps the grandest .
effort Of Verdi and one OF the most magnificent
conceptions OF contemp0rane0uS art. First.
the grand triumpha march. admirable lii its
harmonic combinations and scenic effects beau-
tifuily rendered By the company: then the i'm
mortal seDtuOr. In which the King. Amneris.
Aida. Amonasro Radames, kamphis and the
chorus all express Ia admirable harmonic
combinations Of sound their hopes, loves. fears
1ealoustes. ambitions. Interests IN fact where
every keynote OF the heart Is struck BY the
maestro with the touch Of genius which gives
light and life.
In this magnificent expression OF musical e-
odnence tne voice Of Singer, always correct.
others. she. in justice 1t must be said. gave
tone and color to the ensemble directed II, rs il
were. and when ths chorus IL various tones .
took up the harmonic strain still the music of
her voice could be heard pre-emInent.
In the third net the maestro does not weaken.
of the "plen chant of the Catholic ritual In
IL mournfnl ceremonies q Holy Friday. This
u only an introtncffon 70 the magnificent mu-
Aid AIDA Miss Singer begins i With her grand
air "Qui Radames Vera" which she sang
comes her duet with Amonasro her father .
Storti. In which she continued 10 show oil the 4
here deserves much Complimentary notice for
his splendid Intentions. good voice and adj
mirable phrasinR. He really shows himself
ID remarkably eloquent In his pleadlngs to his
daughter when he endeayors to bring her To
wrest from her lover the important secret that
will decide the war.
After this Petrovch comes in. and the trial
between Love ana duty IL painted IN Muster
LIZ way In the duet between Aida and Radames.
This duet. as we have said before, Is unique
III sounds like nothing that we have heard Be-
fore. 1t fs entirely new and original and Miss |
Singer did her artistic merits and reputation /
full justice Ia its Interpretation. PatrOyich
surpassed himself, and we could not helm smil-
Ing In admiration and recognition Of Verdi's
poetry and talent when In the most passionate
part OF his love addresses. the orchestral
trumpets rang, reminding him. under temptu- b
ton, Of war. honor and duty. And yet he failed !
Tor love eonquera MI. .
The trio between Amonasro, Aida and Rada- I
mes follows, but we have no more time 10 par 4
The night is almost melting now into morn /
ing. and we will have To continue later our 4
appreciation of this great work. !
Before closing. however. We have a wrong TO I
repair. +
y We owe an apology To sIRnor Lanzarnl. the
talented light tenor o the StFakoseh Italian
Opera Troupe. The f. q. tfendish campoSterl I h
did IL ali: but, nevertheless. We must stand Id i
and bear the brunt. We had written yesterday /
about La Sonnambula that Sigaor
"a u AL, Nc