The New York herald., 1879-12-27
ADJUSTMENTS.
ACADEMY OF MusIc-rHE MAGIC FLUTE.

Papa Signor De Puante
sarastro. .............. Herr Behrens
..-.-..-.... signor M1H,i i,ii
sghor ninauIl,
Due uomini Armati.. Nr Rroderick
Due Orator.. sisnSr ssnor TsSaie TeSaldi
chi Sils. Nile ss %isaaa
Is tire Da~'ssl's della NJ. vie \ 4 HsS;isj sss5
Papagona ther first appearance Mile Isadore Martinez
Mile Marie Marimon
The thirtieth aud last subscription night OF the
present Italian Opera reached last night.
and "Il Flauto Magco" produced for the closing
performance of the SERIES The cast was notable
and they did excellenty in the music. but the opera
is not one fruitful Of great results.
Mozarts genius absolutely great thas Of
course it would be rank heresy to say one word
against his operas but nevertheless. in this prac-
ticai age it is undoubtedly true that OF
those vino attend at the production his
operas many will yawn behind their glove.
while declaring their admiration of his genius. The
truth is that the brighter more sparkling music of
Belini. Rossni Verdi has supplanted
in measure music such Mozart's. and
while 1t is none the less beautiful it
is out OF date. and does not "take" with
the people does the music of the composers Of
to-day. "Don Giovanni" LA Nozza di Figaro" and
I'll Flauto Magico" are three notable examples Of
Mozarts genius of which the first only holds
its own in popularity. The melodic beauties. the
grandeur of the armonies the perfection of orches
tration undispued but the style of the music Is
''old fashioned 1t belongs to and is characteristic
IN lts ioEm ana stateness OF the davs OF powdered
wigs and satin knee breeches. and it's melodies
have many of them primitive simplicity that
calls the spinnet and the harpsichord. The "Nozza"
and "n Flauto are listened to always with admira-
tion-and often with yawn--and the scores
are allowed to become dusty the library
Shelves while the more crisp and sparkling pages
tO.lia
the music rack within the orchestra rails. Right
or wrong, it is the fashion of the day. and Mozart
has been practically pushed aside from the operate
stage by the younger generation.
One thought constantly recurs when one consid-
ers the words to which his music is wedded-sur-
prise that man of such gonns should have written
to such libretto that Of "The Magic Flute" Its
story is ridiculous that Mozarts music alone
it. The dignity of the lbretto is simply melancholy
in the extreme; its playtulness is much like that
of the donkey who went to kiss mis- mas
ter, and If our grandfathers laughed and shook
their besatined sides at the story they must
have laughed lighter and more easily than Of to-
day. After ell it is tho music which carries it
through, aud reminds the people of the genius Of a
man who hold them by his talents. even while
telling them SO improbable and often ridiculous
tale.
Mile: Marimon's opportunities are not great in
this OPERA being confined practically to two ef-
forts-the andante and allegro tlnfece and Lu ri.
The andante Qnfelice) was much marred by
vocal mannerisms, but tho allegro was won
as that Of Of LA sonnamSnla or or - "Dinorah limo ALTO 70
It might bo termed. but it gave her fair
the ease with which she can execute the most rapid
and intricate phrases. The "Gli Angui D'Inferno"
was her bright, particular success OF the
, evening. the staccato passages being given
with wonderful clearness and precision, and
the rapidity with which she took passages
in time accelerated beyond that indicated by the
composer. rapid as they were in the original was
simply marvellous. The high she did not fairly
reach on the first attempt. but where the note
cba fnok W. nd pvau nsfa
what on the finale. With these brief efforts her
evenings work was accomplished, but they left
marked impression on her hearers Her voice not
strong last night some phrases and she sang
brilliantly but not quite artsticaly usual.
Mile. valleria's opportunities were more frequent
she went on. through the opera. She sang
the "Perdona" and .Ah per pietd" very sweetly.
and in the aria "Ah 10 so pin non m'avanza"
she had chance to show her powers in moro forid
music. Her ritardsndo on the final note OF the
staccato passage was upon q note that was as
OF the piece throughout was most screditable.
Her scena lCompian IAmarol was also most ex-
aop ana 'hS her
Sgnor Del Puente deserves every praise
both Tor good singing and and for carrying
have been offensive. Excellent and accomplished
artist that he IS he ,,I leaves es,s the city
VIII Win claaiv % weicome his return MISS Carys n
significant part was well done, Of course. and her
acceptance of so small score was most crcditable
other able member OF the cast who served admirably
to fill out the evenings excellence. NJ Al
and spariiins ~oI but d
mirable II not jovial manner.
sTErNwAY HALLr-"THE MESSIAH"
Tho Oratorio Society OF New York publicly
rehearsed Handel's Messiah yesterday after
noon at Steinway Hall, under the direction Of
DR.. Damrosch. Tho soloists were Miss Emma
Thursby. soprano; Miss Anna Drasdil. contralto;
Mr. George Simpson. tenor. and Mr.. Franz Remmertz.
basso. Mr. Samuel p Warren was the organist.
The chorus Of the Society fully represented and
the orchestra. which was well chosen. ably accom-
panied the singers The stage was. at the last
hearsal, very prettily decorated. flowers and
shrubs and Christmas green's shutting in. at
the sides, the handsome toilets on the platform.
and making vesy charming picture to contemplate.
The Afternoons entertainment was quite success
and was greatly enjoyed by the Immense audience
that completely filled both the larger and smaller
halls and even occupied the adjoining Hobbies. for
lack of seats standing room within
The orchestral Prelude admirably played. It's
opening chords of almost abrupt and startling but
grand harmony. well designed to inspire the
singers with the idea Of the majestic proportions Of
the composition being superbly given. The dovo-
tonal spirit which colors the prelude whero the
tempo breaks into short fuguc. simple. clear and
severe was most dclicately phrascd ana led up in
most perfect method to the opening words OF tho
oratorio. "Oomfort ye my people," 1t was pre-
lude or overture almost perfectly rendered.
and TO the musicians and their con-
ductor equally creditable. The work which
followed by the Society and Its soloists the inter-
pretation of tho sublime oratoro chosen for their
second concert. was well worthy of the good name
won by the organization in the past, and, while it
had its weak parts yet to be strengthened, it was
remarkably strong and perfect, regarded as one
piece of work.
command in the quartet of recitatives with which
her part of the begins. She evidently quite
nervous and did not at first show her powers OF
vocal dramatic expression, her voice being sweet.
hut affacted by a nervous tremolo. which robbed il