New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-10-19
MUSIC.
WILLIAM TELL.

Whatever disappointment may have been left III
the public mind after the opening OF the opera sea
son on Monday, was completely dlsslpated by tne
glowing success Of last night. " William Tell " Is
refreshing indeed by contrast with the sentimental
weakness of which we have had such a surfelt OF
late years. aud though 1t will never again seem SO
grand to us as il did fifteen or twenty years ago. be-
fore we were acquainted with the richer and more
truly impassioned works of the modern school. the
fact remains that it Is music conceived Ia much
higher shirt than that of the Belni and the early
Verdi type. and composed with thOfOughness ana
mastery Of which the Italian Opera-maker rarely
shows himself capable. 1t is mans opera. Nlg-
orous and masculine III its character, 1t appropri-
ately depends upon the male singers fOrneary all It's
best effects aud last night it well cast that
The strength of the work must have made decided
impression. The chief event was the debut Of the
tenor Mierzwinsgi. That of the cearest
triumphs our stage has seen for a long time. He
roused the audience at once IL the duo between
TIL and AraOld0. His All, Maulde was encored
with RAPTURE. By the time he reached the grand
trio in the second act his success was firmly estab
lshed, for he had proved himself then an accom-
plshed artist IN pieces CT widely different charac
ter 1t is no exaggeration TO say that he made
n furore. He Is of noble presence
stately refined and graceful His action is animated
ness which seems TO be ripened only under Italian
skies II is rather of the reedy quality to.whlch
we are accustomed in French singers, butlt Is strong
pleasant expressive and beautifully homogeneous.
Its compass and volume are both remarkable. Full
and telling in the lower register it rises easily TO
the topmOst heights with sonorous chest tones, and
there are no demands IL the exacting role OF
ArnoIdO which it cannot honor, leaving apparently
good deal of power still to spare. 1t is one Of
the merits of NJ Mierzwinskps singing that even in
the ringing music of this opera he does not seem TO
be siraInng after effects We recall few things
better of the kind than his finely measured
rrescendO on the high chest notes of the trio giving
one the feeling that was trouble reach those
tones and that he could pass them If there were
need His method is that of the best French school,
but il is distinguished by a steadness and direct
IN which the French apt TO be deficient. lie
has dramatic feeling passion, fire; and In the sec
ond act he showed muck tenderness and delicacy,
managing the mezsa rOoe with great art. IL he can
sustain himself the lofty level of his AraOid0 he
u gOdsehd.
signor Galassis TIL has been seen so recently in
New-YOrk that our readers hardly need to be re-
minded Of its excellence. He shows in this part the
same engaging manlIness which distinguishes the
tenor, and his singing is ali that can be demanded.
The success of the duo and the trio owed much to
his admirable performance; and he pervaded the
whole drama with a spult and dignity In perfect
4seplng with the heroic character. signor MONTHS
Walter very good, and the numerous suDordi-
mate parts were ia the main efficiently disposed Of