New-York tribune., 1886-01-07
MUSIC-THE DRAMA.
THE AMERICAN OPERA.

THE AMERICAN OPERA.
The propriety of opera sung in the yernacuIa,
likely to be questioned than the propety a.
presentingd dramas the English tongue The Amerioa,
Opera far 1t s opera sung In English, 10 justified "A
the ontset in the mind OF patriotic music over
What remains be determined is the standard of ud
ment which should be applied In estimating ice rcprs
sentatons Inasmuch the of ths English laugua
is likely in greater less degree to insure that the
text will be understood 1t follows that az q rue III.
operas and their representation should be OF beta,
character than is customary in performances here a
operas in foreign tongue People who convinced a.
the folly Of operato form cannot escape the disco
fort which such conviction brings at representation.
(which many OF them will attend out Of love for TN.
music or the spectace) when they must perorce know
what is going on the stage Therefore the opera
ought 10 be OF the and free possible from thu
mesaiances which the majority OF the Italian operas
are filled with The singing should be good. the prc-
nuncaton correct the defamation true. and the dress
and tasteful and In keeping with ime and
place 80 that the dramatic illusion may not be dIs
turbed. But America has not cultivated opera M
au indigenous plant, but only as an exotic, ard
the artists who come from countries where
opera s an established Institution seldom able to
use the vernacuar in satisfactory manner Therefors
while the standard, SO far as the choice of operas
and the presentation Of tue elements which
do not depend upon individual excellence
are concerned must be maintained less severity judg
meut must be exercised regarding the singing Of tAs
principals
From this point Of view, the correctness Of which We
fancy will not be questioned by an honest wewisher
OF music in this country, the representation of Tho
Tanning of the Shrew" at tho Academy OF Music lass
night furnished subject for sincere praise and satu-
aton Concerning the literary and dramatic features
of the opera we have already spoken at length. 1t
would have been gratifying II the book had
been put into better English, but the circum-
stances OF the production offer extenuatioa
even for this Musically, the opera is delight
fu-a fine example of the union OF a refined
fecund inveUtiveness, graceful execution and
found learning There are pages in the score which
tempt one to believe that the unfortunate composer
who died just when he hal conquered the recognition
which is almost essential TO the highest order Of work.
was among the brightest musical talents Of the last
quarter OF century. 1t is music OF tie most refined
order the song in tho last act. In which Katharine con-
fesses to herself her complete subugaton. is a gem
which would glitter in tho brightest op ratic crowd
duced by century, The love duet of the first act
idyllc in its beauty and seDtient with trus
feeling. 1t only rebound TO the credit
OF the musical taste OF q people II they
estimate music at its worth. Its drawback comes
from Its association with acolc iDrett0 opera IN which
the fun is OF the boisrous kind Goez did not have
musical humOr at his command. lie wrote exquisite
concert music much OF II drawing It's inspiration IRON
the lines associated with It, but II is not music tha pro-
notes even keeps pace with the actou. Sometimes
II is clog. And Shakespcare's cOmeuy demanded
the highest type OF musical dranatis aud one con
trolling all the accents OF humOr that music possesses
II the opera not perfect one IL nevertheless mars
such advance over the works or the hurdy-gurly
repertory that has prevailed at the Academy Tor tao
last years that 1t deserves the grateful admiration
OF opera lovers.
Worthy OF the work and In many respects fully mp TO
the OF the standard was the chseOe
OF the representation The stage pictures were pleasing
the eye aud satisfying ID the critical Judgments the
costumng good. not marked by eNtravagance
in expenditure the chOristers displayed fresh uhein
voices CAPABLE OF expressive mOulatlO, and they pus
life into the groupings the orchestra was tschheay
perfect its work, though the bad intonatioh ia ts
choir due for the greater part To nat car
reD Disappointing Tie ballet dragged In wlthout
dramatic warranty was pleasing feature 10
be majority OF the listeners and deserves Az
least be the finest operate ballet that the
city has yet seen ,. IT..
Generous praise must stop with these features. The
standard the principles by the performances of
foreign companies reached in single instance
Miss L. Aleinand has good idea OF tie musical aDd
dramatic requirements of the role OF hGti dTH but her
vocal gifts fail OF them Iu tue upper register her
voice is full and rim gng and OF good musical qualy
her B-nat Is notably excellent. But her medium ana
lower registers weak and in them her tones have
childish tmDIe which Is not effective in snch music as
nlls the part of Katharine. or Miss LAllemands
comm lions the most efficient nuscaly was Mr. tts-
seuien whose good voice and smooth style
looked and acted well. but sang with uneven voice Mr.
HamitOns art rather coarse, though his acting ehy
ems the play Mr. SOddard sings with better taste buI
Mr. Lees musical instincts are better thah
those his bass cOnfreres though he Is cultVatlng
tremoo early and his voice wants the Nrty wnleh
one expects from representation NJ Pechio Tie au-
fine one and apprecatiVe, though net spe-
cially enthusiastic.