New-York tribune., 1884-01-05
"CRISPINO LA COMARE."

There are two reasons why this Italian
opern Juea which wasin everything quarter of
tury behind the times when It composed In 1880 and
Is frightfuly archaic now, is still heard with pleasure
The first and best is that Madame Patti consents
10 sing i'm it, The same reason suiccs to gavanize
eral mOrbnd operas into temporary hie and 1t has fire.
quently put vitality into a dying operate venture
In London This Il the conservative influence OF
Madame PATHS art; the witchery or her
singing Is so great that the most radical of musical pro
gressist willing that the shall halt in order that
these last echoes of beautiful art may not be drowned
The second Is the real merit from an old point OF
vew which lies in Of the cOmical music of the work
As a whole the music of "Crispuo Ia Comare " has
wearying monotony It's melodies are 20 much alike in
physoomy that they to have been run out OF the
same mould There is no freshness Of Instrumentation
and no pi0uant change Of rhythm TO relieve the
samcncss But in the story there lie opportunities
for amusing action and several numbers Of the bufa
music are among the ceverest creations OF the kind In
operate literature. We need only refer TO the quarrel
between the doctors in the third act for ample proof
Of this assertion. The story OF the opera Is dery
handled I'm the librctto and is dyerting hOtchpOtch
of broad comedy fairy extravaganza The represen
tatlon given to the latter element last night
ingly rdimentary that there really no nc1ngruiry
between the makeshft spectacle and the music that ae
companies this scene.
The effort OF the Rccs TO make supernatural music Is
so childish that It can never have caused anything bat
smile and when the interview between the tranni Il
cobber and the fairy in spite Of its machinery OF no
ding statues, mystic lights, and grinning Deaths
head does 10 moro than this, it is paia
that the intentions OF both rettis and composers have
miscarred As the underplot which deals with the
love affair of the Count and the ward Of Don ASdru6d
IL Is of so little moment that it might be omitted without
! injury to the opera. 1t omitted last night {,
though since it would have been downright musical
loss to omit the Counts romanza in the first scene, that
was given last night and the subject OF LSen dropped
with its last note The sung with pleasing
| voice by Sig. BellO, whose purpose In walking
through the rest OF the opera must have puzzled al
| who did not detect the cuts made IN the score.
Like "IElisir dAmOre," and much for the same
| reason the opera was heard with many marks OF
pleasure Few OF the Italian operas In the American list
afford amusement and for the exhibition or tragic
| horrors TO an accompaniment OF dance
| melodies, the people are losing tlste. revival OF
| " Don Pasqualc" might bring its reward. Ihe hght
music OF AIHeaS part given with dazzling brlancy
by Nine Patti and her action was so arch and flll OF
r1ush fun that the audience unwilling she should De
Oft stage even instant Every possible opp0t tuty
| for a recall was embraced and a. Mme. Patt was
| exceedingly umiable and responded readily. she
| kent the audience in a glad tumuIt during
| a largs portiOnOf the evening. Finally she
| canned the climax by singing Sig. Ardns
II Baco as il has never been sung m New-NOrR sig
Caracciolo was an amusing CriSpHO and sig Lombardel
capita MirdboldHO and between them won recall for
the bufO duet of the third act