New-York tribune., 1886-02-25

play occupies plane such world be fixed by afuson
| OF q aEysngelno" "Adonis" and The Black Crook"
with onoratie composers nOby striving under the in
snitati,n of one OF the greatest musical and dramatic
yenusas that ever lived make this art for N In all
things as dignied 40 tho spoken drama ana winning
willing recognition because OF the excellence OF their
ACCOMPLISHMENTS 1t is d.scOuragng to see sach honest
aud eiteC tive at the American opera leope pus
into their efforts besto we'd work which as IL stands
ia almost "a likely as "Adonis to elevate public
taste The music OF The Magic Flute is surprisingly
beautiful; nobody Is ready to concede that tnan
ttose who have recognized the advance made Id operate
composition since Mozarts day. Many OF its numbers
have vigor and freshness which are discerniDe only
in Mozart's hest moments; even the nonsense music
which alternates with tho sublime has charm from
which it is impossible to escape but 1t is equally I'm
possible to escape from the feeling that this beautiful
music Is prostitutsd by the idotc play to which 1t Is
welded.
"Ine Magic Flute should be treated as Christmas
pantomme. The tendency OF critics has been TO view II
with too much seriousness 1t Is dihcut to a'od this
while one is under the magical spell OF its music but the
only way TO reconccd to reflection Is to take
IL "A the story OF its creation shows that Its creators
intended he TAKEN namely AS piece designed 10
quit the taste OF the uncutyate unrened ana careless
This will exllan the singular sacrifice OF principle
which Mozart made in permitting rascaly moanteDsnk
ike schckaneier to pass judgment upon his music to
A.I
times before he would accept It, and even to suggest the
melodies OF some OF the numbers. story goes that
Mozart died Of laughing when he founa that tue
public went into ecstascs his opera Certain Is
that his pleasure In it divided SchieKaneler hau
told him that he might oc asonay consult the taste OF
connosseurs and did and found profound satisfac
ton the music written for SddStro aud the priests ana
doubtless also in the ne ensem6esj but the enthusasm
inspired by he knew to be concessions 10 the vulgar
ouly excited HIS hilsrty. Wagner has expressed nj,
admiration at the that though Mozart was frst ana
foremost an absolute musician he could only write good
dramatic music when he had worthy text and " Die
Zaubern0te as a whole compared with "Don Giovanni
Will furnish an illustration OF the correctness otWag-
ner's remark. The beautiful in Die Zauberhote" Is
amply explained by Mozart's genius and marvellous
command Of the technics OF co0poson fne dignity Oh
the SIN idea OF celebration Of the mysteries OF Isis
was enough TO him for great achievement when
it tn providing setting Tor tne scenes Ia wen
the priests figured Ine rest 81 tne muse ne Or Hn
character. His sister naW, who was " take the part
ran ,. and elasticity nence the two display Papd
getO, metamorphosed hdspef the German ru,'ch & naI
10 have music keeping with his character and Mozart
doubtless wrote with little serious thought as he did
the piece for organ IN clock, In F-mnor, A. ana
andante to waltz for httle organ" when can DC
found entered his autograph catalogue Tor the last
year his life In the overture one oI Tue nnes oi hS
Instrumental compositions, he returned 10 i9il1 tna.
had been in since the time OK as5e ana "iauhi
Ohe Academy programme calls them armed men , 10
made OF German chOrle sung III OctaFes as cutD
/ tern
idea which it is difficult to imagine him invent ns LQr
this operas OF the ehoruses ne borrowed rom MS
earlier OF Idomeneus. All these Things Indicate
that the depth which the critics with bottom scraplng
prOcytes wish to see in the work rather the product
Of their Imagination than real
In the Academy representation effort is made to
relieve the opera OF its hppancy though so taF Us
possible antdOte is ITOyded by treating the priest
scenes with dignity and beauty. The menaserie is
limited serpent the nrst absurdIty OF the story
aud four monkeys; SuaStrO enters IN chariot drawn
by instead Of lions, which TACT entails sulcleni
loss OF romantic feeling 10 call for mention. IL lsi
DO
Its first year that t shall have pair OF lonS among l
properties. The principal scenes are wen palht9d
especially one OF 4e tempe SSsePrS ~ d VIII nor 10 S"H
lanked by massive spulhA ~ "ooii uot No. Lom
ever 10 analyZe them too closely hrchlteeturaIy OK
botanicaIly With the exception OF the performance OF
Mr. HowsOn, the singing IN tue representations Is better
the aOtng. Mr. HOwsOn clever colneu!au tnat nc
h neither sings the music BOZ ac5 Ine 81 p1 IT, o anS S
tdos. His habits OF DureSque cns 70 NM ~ anu ~,
Then die" he raises his dagger AGAINST Fdhiad E
gallery gods. M. Hamilton's hupOr Pdpageno IL
Commonplace and rksome under tue restraint
measuredly and sing well, though wltnoat Narleg "
expression. Mr. Whitney and his cOnIreres n the service
OF Isis Mr. Stoddard and OMahony have little else 70
do than 10 nose sOemnly aud talk sepulchraly and this
| they do well. Whether Madame u Allemani isASbndm-
tell were IL not her dress and surroundings Musi
| cally, the general effect is good, though the
keenest delight continues to be given D the singing
Mis- Fiedina who also acts welD. Miss Walker ant
Miss Campbell Their voices in the triOs blend beanti
fully and the exquisite effect OF the alto rart tlt
instrumental accoinp psnment being written 50 as to
throw this into relep finely brought out by MIS-;
cannot DC nrusted better hands The beauty OF the
| orchestras cannot be too highly eAtOled
time Miss Juch relieved In the part OF Pdmtnd by
Mime. Christine Dossert-a change which materially less
Jncn's singing was, with Mr. whitneys. the most en-,
oyabe feature OF the opera and Nine Dessert with all
her paustaking aud concientousness, dd not approa
H. BESIDES nis tue change augmented the amateurish
OF the acting which - so great drawosck 10 en-
conducted the opera last night, and did 1t integeatJ
| and we'll