New-York tribune., 1881-03-31
MUSIC.
THE OPERA-LOHENGRIN.

The revival of Wagner's Lohengrin," which
was accomplished last evening by Mr.. MaplesOn's
artists at the Academy Of Music,
ha7 been awaited with great interest 1t
wa, felt that this likely to be the most Impor-
o. 'ent Of the season, since there was no proba-
. of the production of any new work, and so the
h1u.e was densey crowded by one of the most bril-
liant audiences Of the year and of the largest The
perfo malice was the most uneven that we have had.
and on the whole. decided disappointment. Some
parts of it went well enough. but there were not
many Of them. and generally the tone was one of
insufficient and slipshOd preparation.
OF course LObengrin" makes far more exhaust
ing demands OF a company than the stock Italian
operas with which Mr.. MaplesOn has been all along
regalng us, but it has often been given well that
we all know that it calls for nothing beyond the re-
sources of a well-equpped company of the first
class, as this is supposed 10 be- Hard work and
Jealous care doubtless necessary but these SgnOr
Ardit has often shown hswillngness and his ability
to give. and We had right to expect more signs of
them than last nights performance afforded. The
chorus was frequently Iery bad, and even the or
chestra, which under Sinor ArditTs direction
has done some admirable work, as a rule, was some
times surprisingly rough and uncertain. Some OF
the mishaps ought perhaps, to be set down
to the chapter of accidents, but others certainly
ought not Campanni, for instance, failed to get
the pitch on his entrance, and sang the whole
"Swan Song" about half tone below the key,
which efectually ruined the effect of thii lovely
number; but that was no reason why the chorus
should follow his example, and sing the succeeding
choruses so out Of tune that they were grevOus to
be heard The superb invocation before tho battle.
in the first act halted badly and 30 did the Bridal
chorus while the choruses at the end o the second
act at the church porch, were almost Gu y lame
and disjointed. On the other d the
difficult double male chorus at sunrise
in the second act went capitally. and 80 did the
chorus in the march in the last act. These. how
ever, were about the only things that the chorus
did of which it s possible to speak with much COM
mendation and why chorus which we have seen
can do so we'll on OCCASIONS should suddenly fail so
lamentably it is not easy to see.
Madame GersteFs graceful and 0 impersona-
ton of Elsa has not changed gre = since it was
last seen at the Academy of Music two years ago.
Her voice was not in the best condition. apparently,
and she was sometimes overwhelmed by the band.
which was often disagreeaby bosterous but she sang
with admirable passion aud fervor In the love Duet
with fine fire and strength in the finale to the sec
ond act and with delightful purity and simplicity
In the scene on the balcony CampaninPs superb
performance of the heros part has passed into
proverb. His acting is magnificent and his singing
irreproachabIe. He gave the Grail Song" last
night with all the breadth and dignity
with which he has always invested
ia and which have made 1t one
Of his greatest achievements, and his sentiment and
tenderness III the love duet were absolutely satisfy
ing and in the highest degree inspiring. Galass did
'exceently as 1elrGmund and NOvara as King
Henry was unObjectOnable, but itwas SRnor Montl,
as the Herald, who set the fashion of singing out
of tune in the first act though he afterward recoy-
cred himself somewhat. Why Miss Cary did not
sing the part OF Ortrnd itis hard to say; why Mile
de Bel0c0a did IL still harder HeT voice hA neither