New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1881-03-10
MUSIC AND THE DRAMA.
THE OPERATION GIOVANNI.


That the performance of Mozart's II Don Clio
vanni by Mr.. Maplesons artists at the Academy Of
Music last night was not satisfactory need be mat
ter of surprise to nobody. There is hardly any
work iu the modern repertory which it is so diff
cult to perform properly Independent
of tho fact that 1t demands three
prime donne Of respectable attainments
the interest lies chiefly with the baritonethe scape
grace Don Juan - with whom it is impossible to
feel any sympathy. and who needs to be artist on
exceptional power. both singer and an actor, TO
carry the opera through successfully Moreover, tho
exquisite songs and concerted pieces which are
scattered through the with such liberal hand
require to be perfectly gwen, or the audience,
customed TO the sustained interest of modern
operas, will become bored by the long stretches of
dry recitatve, and lose all interest in the perform
ance.
Something like this happened last night. Mr..
Maplesons company does not include three sopranos
of sufficient strength to interpret satisfactorily the
roles of ZerliRG, Donna ABnG and Donna Elrird and
Del Puente. though he is q good actor, and within
certain limits excellent singer. is certainly not
able to do Justice to the part of Don GOraRRi, which
he essayed last evening. Miss Cary, the ZerliHa,
was not we'll fitted with her part in any way.
Much of it is too high for her voice, albeit hers is
very high contralto, and the quality OF her upper
notes is apt to be decidedly unpleasant Nor is the
music well suited to her style, which lacks the
smoothness and elegance, the repose and simplicity
which Mozarfs songs require She looks the part
admirably, aud acts it with spirit and vivacIty but
though she sang with care and certain amount of
finish even her best airs: BATH. Batti," and
"Vedrai carno," left much to wish for
Madame Swift appeared to be out of
voice; at any rate she was gen.
4 a. 81 81 -
Donna Anta even In the great scene over the dead
body of her father. Mile. Valera did better as
Donna Elvira. Her impenonation Of the betrayed
and wretched wife was graceful and sympathetic, II
not strong, and at most times she sang oharmngly.
Her mon ii ida, o misera." in the quartet with
Donna Anad, Don Giovanni aud Don OtaVio in the
first act, was an admirable bit of pathetic declama
ton. and altogether of the best things Of the
evening.
Rsvell, as Don OtaviO, in spite of the uninterest
ing character of the part. made genuine success
with his two airas "Dalla sua pace aud II milo
to soro." which were admirably done The latter.
indeed is one Of the best pieces of work that he has
given us. 1t Is smooth, elegant and unaffected. and
captally vocazed and it displays the beauty Of his
voice to perfection. He was recalled repeatedly Tor
his singing of this air. and ct last had to repeat IT.
Del Puente as Don Gi0vaRm, was bright and ami
mated at times, but wanting in dignity and some
what unequal. he sang with plenty Of
spirit. and gave some of his songs
effectively notably the Z" Flu ohihan dial yinop and
his share OF the duet with ZeYIRd, La OF carcm."
But he Is far better in fraakly buo part such as
Figaro in " LIE Nozze." Sigpor Corsini was lugu.
brious LepOTeIo, whose chief idea Of humor seemed
Sbestra were eficent, as they always are and the
piece was handsomely put upon the stage, there
being one or TWO new scenes. An excellent enect