New-York tribune., 1882-03-03
MUSIC AND THE DRA Nj.
ADELINA PATTI IN OPERA.


Madame PATHS success in ROssnis Barber" al
the Germania Theatre, last night was even greater
than that of Monday. The audience was as large
and as brilliant in character and the outbursts OF
applause were more numerous and enthusiastic.
The music lesson scene brought the climax of the
evenings pleasurabc excitement and IN it she not
only had to repeat part OF the Shadow Song" from
Meyerbeer's " DinOrah," which she ntcrpolated,
but the paudits were not stiled until she had re-
sponded a second time. She did so by singing
" Home Sweet Home " with orchestral accOlnpa-
niment, and after it there seemed likelihood that
the whole demonstration would be repeated. When
the action Of the opera was resumed 1t was in the
midst Of the glad tumult.
Though in respect approaching the artistic
plane upon which Madame Patti moved, the other
members of the troupe played and sang much better
than on Monday night. Excepting few things the
sprghtly old comedy was presented with much
bright humOr, and there was never time when the
action was not entertaining. Signor Nicolini played
well. though he sang exccrably, and SignOr Pinto
made an amusing and original if pouderous, Bd8t0.
There was, too, some drollery in Barilps BGrtoO.
The sentient life of the piece. however, came from
Madame Patti, who danced sancily through the
comedy, filling it with hundred pQuant charms
which she alone can give, and singing the music IN
the manner that has coupled her name in history
thus far, Madame Patti has touched the limits of
her art and furnished criterion by which those
who are now hearing her for the first time can
Judge her and learn what it is that has given her
tho commanding position on the opera stage which
she has held for two decades.
First Of ALL Madame Patti is an exponent of the
art of beautiful singng-tbo old art whose deca-
dence has been deplored by historian and critic for
q century How she would compare with the pro-
ducts Of the famous schools of Rome it s of course,
impossible to say and it does not matter 10 the
singers of to-day she bears the relation of the high
est exemplar Of what generous gifts sound train
lug correct musical feeling aud a high order Of
artistic intelligence can do Thisis not to say that
her representations on the opera stage every Ideal
of the character she essays is fulfilled. Like every
other artist, she has genre III which her greatest
achievements are made and this genre is not grand
nor heroic. As Caalani said of Sontag, and as has
been repeated of Gestor, her genre is small, but in
it she is unique. The limitation Is one Of voice
quality aud Involuntary inclination. There Is
grand style, which, when consorted with grand
voice Is the tit vehicle for the expression Of heroic
emotions 1t Is such q style which enabled the
singers of the old school to ave- as we
are told Pasta did, even while singing
the old-faShiOued arias in which modern
taste is inclined to recognize very few OF
the elements of tragic expression. 1t Is the style
which belongs the real serious OPERA that is the
form which preserves in subject and treatment the
classic definition of tragedy. IN tins no one would
| look to Madame Patti for special excellence. But
thcro is also comedy type in opera, which, before
the name was dishonored by the King of the Bouites
Parisicns was called opera JuGd. In 1t the person.
| ages are common people, the action plays with the
foies and fobes of humanity, and the purpose, less
l,, iat toclog tisa ,1a me
TO do It witha smile, as an old definition has it.
| In this lies Madame PATHS province, and 1t em-
braces many of the pieces which are considered
| tragic SIMPLY because they have mournful out
come. Unquestionably her powers as an actress
vane the nearer the characters she assumes ap-
proach the dividing line between comedy and trag-
| edy but that they are very considerable she has
fully demonstrated in the face OF the great embar-
rassments which music places upon dramatic
| action. As JiOlettd, last Monday night
| by most praiseworthy art, she maintained the
| dramatic interest unilaggingly, though ham,
| pered. as every prima donna who essays
! the part must be. by the popular conception OF
! Camille. A comparison of the two characters, no
matter by whom represented, is maniieStly unfair
TO Jiolettd. Dumas's creature had 10 suffer great
deal of bood-letting before sho was ht for the
opera, and the effect TO purify her OF lpost OF
| the moral grossnesS III when so lhuch oi INC cS-
scnce OF the play lies The music tempered to icy
| coldness the hectic excitement which moves the
brilliant opening of the play and idealized the
sentiment which appeals for pity and par
don in the last scenes. Only q few OF
tbe emotions of the character could find
| q, pres,iye language in music, and they are
| fine elementary ones The scope Of the interpreter
is limited, besides. by the long intervals in which
the action halts while the regulation musical
periods are reeling off. This compels deal of by
play moving ina very narrow circle of emotions, and
prevents the development of anything like a full
| rounded dramatic character. Under tho crcum
stances 1t is difficult to imagine how moro could be
made out of the play than Madame Patti made
out of 1t.
Still it is of her singing that most must be said
and her achievements in the sharply contrasting
| characters of Vioietta and R0SiHa would to