, 1880-01-18
THE OPERA SEASON.

no Tear that the Court Will 1al 10 sustain
THE OPERA SEASON.
The first week Of the opera season has
closed upon success, and we enter upon the
second with still better repertory and cor"
respondingly improved opportunities for en-
tertainment. The first week has given ussix
OPERAS" Martha "Sonnambula, ""Aida, ~
"Faust," Linda" and "The Daughter Of
the Regiment" the last two being compare
lively novelties,-and has introduced seven
new artists, Mile. Marimon, Mile. Val1eria,
Nile. Ambre, Signor Runcio, Signor Tebaldi,
Signor Monte, and Herr Belrens, besides the
old favorits, Miss Cary, Mime. Lab1ache,
Signors Campanini, Galassi, and Del Puente,
and such chorus and orchestra as we have
never had here before. Such season as
this presents some points that are worthy Of
consideration.
The first of these is the mistake that the
public makes in disregarding the off nights.
Mile. Marimon being recognized by common
consent rather than BY real merit as the star
of the troupe, her nights are considered the
regular nights, the crowd rushes to them, and
seats go Oft at premium. It. perhaps, has
not occurred to the patrons of the opera that
in making this discrimination they are pun
ishing themselves. The best performances
last week were those Of " Martha" '' Linda, -
and "Aida," every one Of them given On off
nights. Without making any invidious dis
tinctions,-fo Marimon in her way is an artist
Of the first rank, the nights upon which VAL
leria sings present equally strong, il not
stronger, claims to be considered as regular
nights. Unquestionably Marimon's forte is
in forfd singing, and it was not until
such opportunities occurred that she made
any serious impression upon her audience.
In. both Sonnambula" and the daughter
of the Regiment" her complete success was
not reached until the concluding inales,-in
the one case with the "Ah! non giunge,"
and in the other with the interpolated waltz
song. Mile. Va1leria, on the other hand,
made her success with her sustained singing
and her intelligent dramatic ability. She
scored her points as the work progressed,
and she carried her audiences with her in a
legitimate manner to the climax, enlisting at
tention and appreciation all the way. This
is surer test Of genuine artistic ability than
facility in delivering an elaborate and intri-
cate cadenza, however ASTONISHING the feat
may appear. Marimon is unquestionably a
more experienced and better actress than
Valleria; but there is no musical reason why
Valleria should not be classed as a prtmn
and be considered star. She is not phe-
nomenal singer, but she Is none the less an
uncommon one, who scores her success with
out any apparent effort to do so. In
this regard her style is honest, and
she consequently gives truer satisfaction
than many artists who hold higher rank.
For clearness and beauty Of voice, for truth
Of information, for artistic intelligence, as
well as for repose, which is one Of the es-
sentials of art, there have been few singers
here more acceptable. She deserves, there
fore, equal consideration with Marimon, and
we make this claim with no purpose to dis
parage the latter.
The second point Is the performance Of
"Aida." In every respect, in the choral and
orchestral work, in the strength Of the in
dividual talent in the beauty and fitness Of
the scenic display, and In all the details Of
costuming, professions, and properties, we
do not remember to have ever seen an opera
more thoroughly or elegantly placed upon
the stage. 1t is pleasant to note that not
withstanding such names as Ambre, Ga1as-
81, Campanini, and Behrens in the cast, Miss
Cary was the leading attraction. Her per-
sonation Of the love-smitten Ana1lerts, with
its passion sweeping the whole gamut,
from the tenderest affection to the most
furious rage, was surprise even
to her friends, who had not
looked for such an intense display
Of tragic power, and suggests the ques-
ton whether this is not her true field of
action. Hitherto Miss Cary's reputation as
an artist has largely resulted from her COM
edy, though she by no means reaches such a
high standard in it as In heroic characters
calling for dignity, breadth, and power. Miss
Cary's comedy is very genial and ro1lickfng,
nearly always too exuberant- Unlike any
other artist Oh the stage, she has taken ad-
vantage Of her popularity to establish IA
mi1ia1ity with the audience, which, sooth to
say, has been reciprocated In full. This is
not art, however. No artist has the right to
be aware Of the presence OF an audience un-
til the audience demands her attention in the
way Of applause. For this reason her COM
edy has often been marred by exaggeration
and by asides and by-play which have no
connection with the business Of the stage,
and consequently should not have been intro
duced. In serious characters there is no
opportunity for such a display. The
attention Of the artist cannot be diverted
from the scene without the risk of fasco or
failure. The result was apparent In the
crowning success Of her Amnerts. It was
conceived With admirably good taste and
Judgment and it was Interpreted with aston
ishing power and fidelity; and in these re-