The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1879-11-17
ADJUSTMENTS.


the Academy of Music by Her Majesty's Opera Com
papy. Mile. valleria Miss Cary signors Campanini
and Galassi and Herr Behrens being the soloists.
The entire orchestra and chorus of the company
were engaged in the Interpretation of the work. and
Signor Arditi ably directed the music. The lower
and upper parts Of the house we'll filled. but
thebox circle patronized extensively and the
proscenium boxes almost enantless. 1t was not
ultra fashionable gathering neither it as
semblase of the regular patrons OF Sunday night
musical affairs. but audience of good quality
who came to hear nertorious work meritoriously
performed. After listening to it attentivey. and
generally applauding in the proper places the ver-
dict seemed to be nearly unanimous that, taken all
together. expectations had been realized. and that
the 'stabat Mater had been ably interpreted. The
quintette engaged was very strong Que. and the
chorus was generally very effective.
The orchestra was inclined to be over strong and
more than once overpowered the voices. The in
struments were led by vigorous hand. however.
and the bemlshes apparent last night will not prob
ably recur.
Various operate troupes have sung the "Stabat
Mater" but the rendering 1t had last night may be
put down. after consideration OF its faults
and its merits. as quite equal in most respects and
far ahead in many details OF any previous American
Interpretation of the work.
The Introduction was sung In excellent TASTE the
music receiving most appropriate coloring. The
blending admirably and giving ample expression to
the whole of. the music of the number. Campo
hints solo, "Stabat Mater dolorosa," was sung with
deep sentiment and brief it is was quite perfect
in its way. The tutti Dunn pen debat) was very
good the orchestral effects being particularly excel
lent.
The "Cujus Amman most beautifully sung.
Campanini giving to it all the earnestness and inten
sity OF prayer The fortissimo passage (Cujus aui
mann genientem) grandly done. but the orchestra
far too powerful and marred much OF the effect
The ..Oh, guam tristis" and the following passages
rive wit we
done. there not as much depth OF feeling
as they should have possessed. The crescendo.
beginning chromatic succession and leading
to the climax on double fiat. was very triumph
of artistic Skill and its repetition il was quite us
successfully done, The cadenza was very fine and
the aria was finished with pianissimo effects that
were narvelousy delicate Calnpanini seems 20
method of singing this famous number. As rule
it is apt to be sung wrongly as song of triumph
and the opening bars given out in clarion tones but
| gives the air throughout consistent phrasing.
| The duo by Mile. valleria and MISS Cary very
| warmly received Mile. Valera was evidently
| rather nervous in the louis est homo and little
uncertain in tho Introductory phrase. but her
voice came out later with great sweetness and
With, with the repeated notes Of the accom-
paniment. Miss Cary's solo, louis non posset."
In using the portamento effect. where the
| il carried down seventh. she lost great
Sart which follows to solos was sxee
| lently done. The difficulties presented in the
peculiar intervals of the descending scale in the duo
were readily conquered: The scale is peculiarly
difficult it is neither chromaic nor diatonc, but
was taken accurately and in perfect time by Mile
| Valera and Miss Cary. The finale most
| sweetly sung and charmingly shaded the audience
almost boisterously applauding 1t.
TO Sgnor Galassi tell the "Pro peccatis." He gave
| cold. 1t showed all the beauties of his voice, and
there was great dignity and power in his method
| to make it quite perfect. The orchestra too
powerful in the finale. and once or twice there
note that little too low for effective tone
but Notwithstanding these drawbacks Galassi made
| an excellent impression on his audience.
The chorus and recitatlve mo. 81 had an organ
| accompaniment. 1t was sung in q religious. solemn
style that would have been imposing in degree il
| it had not lacked precision and there had been
hitch where there Is change to IS time The move.
| ment taken with composure. but not per-
| feet accuracy. Herr Behrens very good, but
| was trihe heavy-his one prominent fault among
many strong points. The "Fac ut ardent and
"Christum Deum" were prominent examples of the
want OF uniform promptness on the part OF many OF
| the chorus.
| The quartet was taken rather fast in the opening
passages. Campanin again sung finely in the short
"sancta Mater received oil the expression which
the music permits Of. but ut best it ia
shs 4. shose With app MScS IL is
| The Virgo virginum' might have had more de-
votional coloring with good results Mile Val.
| leria's and Signor Campanini's voices blended
most tremendously in the "Virginum prpclara.'
The finale badly done. and. despite very good
work here and there the result of the whole not
satisfactory. and. with the exception Of the duo
passage tho number about the least effective Of
any heard thus far during the evening: :,
Miss Cary's cavatina was we'll conceived, and we'll
rendered except In minor details. The Fac ut Por-
| tenn" received full musical emphasis and the
tanned note was given with great power and grace.
The following passages were grandly rendered aud
the cadenza tastetully done except in the hnal
loudly encored. and on its repetition. the 'Cruce
hac inebriari." which ut first was not in time with
the orchestra. was perfectly snng.
| The Iuhammatus was Mile. Nalera's opportunity,
| and ono not neglected. The solo Is one which In
almost all its notes suits her voice, admirably.
There is a brief passage which calls upon two
OF weak notes. but nearly all of it is music par
tcularly suited to her compass and STYLE She sang
| it in a soulful and impassoncd manner that
| was charming. The chorus work which follows
was SO well done as to be positively imposing:
A lack OF portamento in the "Morte Christie
marrcd otherwise effective passage by Mile. VAL
leria the following phrases and the 'Confoveri
were grandly done. The Number was brilliant sue
cess. the average excellence OF both the concerted
| music and the solo 80 high.
| The quartet ('Quando Corpus"), sung without
| any accompaniment was fairly done. Once or twice
| il was not strictly in time, and ii
little uncertain as to perfect tuncfulness but as
quartet, which included Parepa Rosa and Brignol.
| failed utterly occasion in Philadelphia in
this quartet is not little praise to that it went
| The finale was q thorough success. The fuguo
| went remarkably well; tho voices did not blur.
| the time true well the pitch and
| the whole went with great vim and spirit. Tho
| allegro was very well done; the andante was not
so perfect and owing to its being less brilliant than
| the movement which procedes 1t. It was not so
popularity successful. Dut, Weil uOne anu nnely
phrased 1t was fitting conclusion to occasion
which both the management aud artists arc to BIO
| congratulated.
| THE GRAND OPERA HoUsE-GILMoREs SUNDAY
EVENING CONCERT.
large and appreciative audience enjoyed last night
the concert given at tho Grand Opera House under
tho direction OF Mr.. z. s. Gilmore. The programme
embraced the following selections :-Overturc. 'Sta
bat Mater" Rossini. Gilmores Band; trombone
| solo, ''rhe Favorite" Hartmann. Mr.. +. n. Innis
quartet for saxophones. "Barcaroic" Schultz,
Messrs. Lefcbrc, walrabe, steckelberg and schultz
| rectatvo aud cavatina MA la Sofa. Chime Sonic
lBellini) Miss Abbio Darlington; piano solo, "Rhap
| sodie Hongrose" No. tIiszt). Mr.. A. Ii. Pease;
| grand selection. "Ibc Gems OF Faust" tIiounod)
| uimoro's Band; Turkish march. "Helieving the
Guard" (Michaes), Gilmorc's Band. Twenty second