The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1879-11-20
ADJUSTMENTS.
ACADEMY OF MusIc-..AIpA."

ACADEMY OF MUSIC AIDA
Rhadames. Signor Csmpanni
Ramas Herr Behrens
Amneris MI, Nile A L Cary
..Aida" was sung again last evening at the Academy
of Music. and before as large audience
present on Friday last the occasion Of its first
production this season by Mr.. Maplesons troupe.
There was not an unoccupied seat in the house.
notwithstanding strong attractions elsewhere in
the city. and the quality of the audience
and the excellence OF the performance were
thoroughly in keeping. The opera has seldom had
better setting stronger cast, and 1t is doubtful
if it has been equasd in some details. on any stage
1t not perfect from end to end, and in
two respects its weak points were
conspicuously manifest. but looking at 1T
In its entirety. regarding it as single effort
Judging its merits by the impression it created
whole, 1t deserves to be ranked among the best
efforts of the lyric stage. and assuredly en-
phatic success last evening. thoroughly creditable
to the management and deserving of hearty recogn-
ton from the public.
To write the history of Mr. Maplesons present
has not been pleasant task. necessitating.
1t has. plain statements of disagreeabe facts.
but that the monotony of repeated failures
has been broken in upon by brilliant
success it is as gratifying to chronicle the
result it has been unpleasant heretofore point
to the cause of the operate failures Faust"
Linda and 'Aida" proven in the full audi
ences that have witnessed the performances the
truth of the statement made repeatedly in these col
umns, that the public would support most gener-
ousy good opera. strongly cast and world not sup
port minimum efforts at maximum prices; aud it is to
be hoped that the management at the Academy will
accept the verdict by the full houses OF Friday
and Monday, and accomplish in the future the good
is IN
the past.
pointing to the merits and faults in their
tion last evening, will show the relative excellence
Of those engaged in the Interpretation of aida"
and will indicate. by reference to the score the
weakness strength vocally. of the artists in
music. The dramatic and scenic effects were SO
largely part of the evening success that reference
may be briefly made to them at the same time.
Campanini's opening aria. Celeste Aida."
eharmnsy sung with the utmost tim expression and
the audience by the disturbance created by late
comers Miss Carys "Quale insolata' admira-
duo with Nine. ANDRE she proved her.
self to be in excellent voice. The trio
which follows was fairly DONE but more cannot be
said of it. owing the fact that Nine Andres voice
is not powerful enough to sing with marked effect
in company with two such artists as Miss Cary and
Campanini. The chorus work in the first act was
of high order, and the 'Su del Milo"
would have been exceptionally fine if it had been
given more as song of triumph. AS it was, it was
spirited and well taken, but just fell short of being
grandiy effective. Nine. Andres scena was well
conceived, but was vocally weak. AS has been said
before of her Aida goes about it" properly but
has not the breadth command OF voice tor such q
role 1t is great Improvement on her violetta.
but the is always making demands that she is
not quite capable OF answering. Dramatically, how
ever she is excellent in the part. The "Numi pieta
thin. except in the ''anor fatal" passage. The
"Passente Ftha" chorus was most perfectly DONE
and the finale was excellent in every way. The stage
setting. the groupings the harmony of the colors in
the costuming of the act, were most artistic and
charming.
In act second the duo between Miss Cary and Mme
Ami ra Was afr faafn Tn no
the latter weak but of her upper notes rang
out with brilliancy. The lovely melodies which
fall to Miss Cary were sung with richness Of tone
that greatly enhanced their effect the dramatic
action both of Amneris and Aida was appropriate
and at times strong. Nine. Andres "Ah pieta,"
which closes the scene. more noticeable for it's
delicate treatment OF the final phrases than tor
power. and the whole was feelingly rather than
The scene at the entrance gate to the City of
Thebes was the scenic and choral triumph of the
evening. The scenery was very fine and evidently
executed from close drawings from nature. The
stage was crowded by glitterng pageant,
bright with glistening armor. beautiful with
most harmonious coloring in the costumes. and
picturesque by reason of most artistic groupings
Gaassi's fine acting and vocaism in the "Suo PADRE
auch 10 pugnai" was grandly effective and the SEES.
tetto and finale never went better. Nine. ANDRE
expectedly showed to great advantage in the con-
marvellously good. The finale has not been
surpassed on the lyric stage. The scenic effects
were equal TO anything produced during eeitii;
concerted music could not have been improved
upon whole thousand voices would have
produced more sound. but the harmony would not
have thus been made more perfect, and the setting
OF the stage fell short OF only ''the spectacular
When this is said it be truly declared that on
the legitimate lyric stage the conclusion of the third
act of AIDA last evening has not been surpassed.
In act third Nine. Andres "Oh Cell azz,irai" was
well and inteligently phrssed, but the number
quires a fine voice TO do it justice Galassi and
Mme ANDRE each scored . triumph in the duo,
which was grandly acted, and was admirably sung
by Nine. ANDRE and exceptionally we'll delivered
by Galassi. Galassts acting good his
famous work in Linda" though in entirely
different direction. and his delivery OF the words.
"tu sci la schiava" seemed . dramatic inspiration.
Campanini's '-Odimi Aida was remarkably tine,
and of all his music OF the evening the same may
everything he sang was finished and graceful and
charming.
Nine. Andres voice trife metallic in the
'Fugiam gil ardori," but the duo with Campanini
acting really very good indeed. and she infused
great deal of feeling into the phrases The allegro
of the finale carried along in fine STYLE and the
trio and finale of the act produced fine results.
Miss Carys acting and singing in the fourth act
was remarkably perfect. and, though she supports
the whole of the first part of the act with
Campanini, two such artists could not fail to
do it justice. The maediction the only weak
point most of the notes falling within her weakest
tones. Campanini's "Morr, 81 purir' was q melody
tender enough to have melted the stones
of his prison. and the duo, 30 terra addio,"
charmingly executed by him and Nine. ANDRE.
1t was absolutely excellent and deserving
of close attention from the house. But
ing late were now busy putting on wraps and again
succeeded in disturbing the composure of those
who had como to hear and not to be heard.
GERMANIA THEATEE-"BRUNHILD."
Gunther King of W orms ii err Merry