New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-03-25
MUSIC.
ITALIAN OPERA-DAFRICAIyE

1t is unique quality in Meyerbeers
"DAfrcaine that it furnishes material for argument
with equal abundance TO the composers euogIsts and
his detractorS. Those who look upon IL a master
work can Gull FROM IL many examples which show
auHuriance In invention and refinement in technical
treatment almost without parallel opera terature
while the rampant imagebreaker Of theIultramoder1
school can adduce proofs by the score
for it that in art Meyerbeer was the
Man without country" the souess, conscienceess
music maker who knew higher law than TO excite
the By dDt Of odd contrasts brilliant spectacular
effects and startling devices In every department OF
stage writingwho did not create but only combined.
All his genial skill in this direction they can
put under condemnation by citing evidences Of
ignObe aims viewed from the point OF view
OF those artistic ethics which they find in the
masterpieces OF Mozart Beethoven aud Weber
II is also a singular thing in the history Of the opera
that Meyerbeers with regard II shond have
been eBigma,caL He never heard it performed,
though il almost II quite completed I'm the period
when his creative energies At their 0odtide ana 40
extraordinary reputation at It's zenith lie Kept IL smut
up in his desk for years, either because he knew its
weaknesses because he esteemed 1t his masterpiece
as many critics have done snce and wished to keep
where he could add every amendment That musicians
pride might suggest Each theory has It's believers and
it's seeming proofs each awaits yet and viii always
await, satisfactory demonstration.
The truth about wOuld TO lie midway between
which Meyerbeer's genius scaled in "Les Huguenos,"i it
IL undenably carefully constructed and ser. aIsly
planned work, in which the character Of the ambitious
musician left plain traces the skill OF the popular
opera writer. An eyener musical plane than
was common with him was sought Ia IT,
and not without success. There is besides, clearer
dramatic characterization in IL than In most Of his other
operas though after the characters have been drawn
they little better than motley 10 whom II Ia
difficult 10 attach serious thought The
trepil navigator VaSeo da Gdma, is de-
graded even below the most commonplace
type Of the opera hero for In his love he has stability
Of purpose or feeling but drifts from Inc, Seiita
from Sea Tes with every change in the current OF
the plays action In Seiia and HelSkO, the best char
acers found and in the formers duets with VaSeo
ana the deathscene and the latter's throughout
in the musical clmaxes of the opera Unfortunately the
story of the play takes such wide scope at least such
long time in developing that the hearers nearly
hausted before the really magnificent musical scenes are
reached and director who Is anxious TO see the cur
tain fall before midnight, is obliged has been
done AT the Academy to cural the very part which, II
It could be heard in the early portion OF the evening,
would have kept of OF the WEAKNESS and assude
which inevitably set in before the end Of the fourth
actf Last night there gain OF nearly an
hour over the first performance but the gain in TINE
was bought at the cost Of greatdeal of good music
The spectacle moved more smoothly than on Wednes
day night and the effectiveness Of Of the thearlca
situations heightened while the principals all main
tanned the regulations made then. Signor Campaninf
fired by the opportunity TO celebrate til
umph in new character, has sung Oh bJth
nights with the cearness and freshness OF tone
which we bad begun TO fear bad departed from him;
while SienOr Galassi ~ virtue OF passionate singing ana
acting lifts the par of Nel,lstO into prominence that
dwafs ALI the o.ncr characters. Ia Sei.gd Madame
Hauk exhibits a role in which she count on higher
favor than Is conceded her for any other part excep'