The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1883-02-01
THECINC1NNA FESTIVAL
Two Operas Presented in the Music
:, Hall Last Night.
"wiIiiam Tell" and LA SOnnambuIa"-The
Costumes in Meyerbeer's 'tL'Africaine"
-Nilsson's Reception in Concert.



William Tell'' might we'll be taken as ex-
treme poles of modern Italian spirit in art.
The genius OF Bellini is altogether melodious,
and of flord luxuriance most remarkable,
while Rossini, the brilliant Rossini. who
breathes runs and flourishes in this one
grand opera has attempted a higher mood.
In william Tell' he makes a successful
effort to be heroic As rule, the musicians
of Germany think slightingly of the music
written by the latter-day Italian composers,
but in this instance they are willing, though
with some languor and demur, to admit that
'Telr' is worth study. 1t is not, they
say, work of much depth,
and it is exceedingly tedious, but
nevertheless 1t is better than the works
of the other men-Bellini, Donizetti, Verdi,
and the rest. The judgment of an artist is
and must be of little worth. The creative
mind is too wrapped in its own imaginings,
and is too powerfully bent upon the realiza-
tons of its own conceptions to have either
time, strength, disposition or capacity for
judging fairly of the works of q differing in
telligence. Let the happy amateur there
ANAO iCJOiSO VAtt iiS may ~ VIII
his mind with the best extract of the genius
of others, and so be remunerated by fate for
his littleness and obscurity. Bellini's La
Sonnambula'' is one of the most fascinating
works in the world of opera. Its theme is
happy love- and in consequence the prevail
ing tone of the music is gay andimpassioned.
There are, it is true, some severe trials for
the consistency of both lovers, and hence a
l. Il i IL
"a Non Credea," but the &C.
stacy bursts out like full sunshine
after summer rain, and the closing aria, GA
non gu giunge," is a bird carol. The beauty
of'the first grand scene with chorus, in which
Amina makes her first appearance, is COM
plete illustration of the whole scope of the
work, and it's two sections, Come per me-
and "Sovra il sen," are among the most
beautiful things written for the female voice.
William Tell is peculiar for its almost ex-
elusive use of the male voice There is one
most exquisite aria, however for the soprano.
tits to be found at the beginning of the sec
ond act, and opens with the words 'selva
opaca." The wonderfully high tenor role of
Arnoldo will be superbly Interpreted by
Signor Mierzwinski, who possesses one of
those almost miraculous voices which can
reach the prodgious attitudes of Arnoldo's
role Mierzwinski has some astounding high
notes. The opera of William Tell' has
many beautiful concerted pieces for the male
voices, and its effects of chorus are electrify-
ing.
GA soNNAMBULA"
The first act of La Sonnambula" opens
with festivities by the villagers to celebrate
the approaching nuptials of Amina, an or
phan. and adopted by Teresa with Elvino, a
wel-to-do landowner. Lisa, the hostess of
the village inn, is also in love with Elvino
and consequently jll-dispoSed toward
Amina. The lord of the village, Count Ro-
dolpho, arrives, and creates some hustle and
excitement, just as the marriage contract is
about to be signed. He excites the jealousy
of Elvino by his marked attention to Amina.
The villagers, owing to a figure in white
being seen wandering at night, have belief
that the place is haunted, and upon the APP
proach of nightfall retire to their homes. The
Count retires 10 an apartment in the inn. In
the second act is the bed-chamber of the
Count. The Count is coquetting with
Lisa. when the approach of Amina
walking in her sleep, startled them, and
Lisa hides herself in her hurry dropping
her neckerchief The Count quits the
apartment, Lisa energies from her con-
ceelnIent, and goes to apprise Elvino. The
villagers arrive, and are scandalzed to find
Amina asleep in the Counts apartment.
Lisa and Elvino also arrive-a scene occurs.
Amina is condemned and cast off by Elvino
In the third act Elvino is about to lead Lisa
to the altar, but the Count interposes, and
endeavors, by his most earnest assertions, to
awaken Elvino to the truth, but to no pur-
pose, when all are startled by Arina APP
pearing, walking in her sleep from the win
dow of Teresa's mill. In her dreamy utter
ance she gives vent to expressions that leave
no doubt on Elvino's mind that her heart is
his and that she is innocent. All are made
joyous except Lisa, who is confounded by
the production of her neckerchief, which had
been found in the Counts bed-chamber.
WILLIAM TELL"
The opera of civilian Tell" opens with
village marriage festival on the shores of a
Swiss lake. In the midst of the rejoicings
an old herdsman named Leuthold rushes in
having slain one of Gessler's officers, who
had attempted an outrage on his daughter
1t is necessary that he should fly across the
lake, but great storm is raging; none will
undertake to row the old man across. Tell
volunteers and succeeds This coming to
Gessler's ears, be marks Tell as an object for
revenge. The rule of Gesser, as the Aus
TRAN governor of these provinces, is so harsh
that the population becomes more and more
mutinous, Gessler has beautiful and gem
erous daughter named Matilda, who it
seems, previous to the opening of the opera,
has been rescued from watery grave by Ar
mold Mechtal, Arnold's father, is suspected
of melting the population 10 mutiny, and is
seized by Gessler's orders and executed A
party is now formed under
Tell for Gesser's overthrow Arnold, to re-
yenge his father'a death, notwithstanding
that he has become imbued with a tender
feeling for Matilda, joins them. Gessler has
a pole erected, and on it is placed cap, to
which all are required to bow. Tell refuses.
Then follows the ordeal of the apple Upon
Tell frankly owning that he intended the
concealed arrow for Gessler had he injured
his boy, Gessler orders both father and son
to execution. Both, however, in the opera,
are saved from death through the influence
of Matilda with her father.