New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-12-04
"OTELI4O" At THE OPERA.

A notable night in the annals of Italian opera
that of yesterday which was given up to
representation OF Verdrs "Otello." Under any cir
cuvlstances IL would have been intellectual and
emotional refreshment to renew acquaintance with
a work which. however diverse may be the esti-
mates OF its artistic merits, Is indubtaiy one OF
the most extraordinary products In musical his
tory. evidence of the vigor and progressive
ness of old mans creative genius The time Tor
final judgment upon the genius OF Nerd Is not
vet come: nor will it come until the world has
had time fully to ponder his last utterance but
those who have been privileged TO observe sue
cessively as they have made their appearance the
works which he has brought forward In the course
of the last twenty five years must realize that the
history of music has had few such examples OF
steady DEVELOPMENT toward high ideals. In fact
the strides from "Ernani' Go overlook the time
limit specified for moment to "Otelio mas only
one parallel in modern records at least. ana that
is found in the progress of Wagner from 'Rienz"
TO ..Parsfal But of the artistic ideals exempiiied
in "Otello'' this journal has frequently spoken 1t
is sufficient to the present purpose to say that In
the light OF the earnest work doing by the younger
composers of Italy, this OPERA written after Neroi
had passed the allotment OF three score years ana
ten has 70 its freshness and interest but
remains a marvellous example OF how music can
be welded to words in the drama and MADE TO
heighten their expressiveness.
But II the intentions of the composer are TO be
fully realized 1t is necessary that they be inter
preted by such artists as tndt
task last night II Signor Tamagno's performance
be ASSOCIATED from that OF his colleagues 1t would
be incorrect to say that it surpassed his previous
efforts In fact he has seldom sung 50 distress
ingly and persistently out Of tune as he ana last
night. But its dramatic forccfuness was brought
vividy to the fore by association with NJ MaureL
The extent which these two approximations sup
plement each other is altogether worthy OF adj
miring remark. SO. too. is the Transforming infu-
ence of the drama OF Boto and Verdi upon Ia
magno individually. Between his Otello and his
Edgardo. for instance there is as great difference
| as between the ideals of Donizetu and the later
Verdi. Wagner substituted singing actors Tor mere
singers in Germany. and with this opera \erd dli
the same thing in Italy Even the mannerisms OF
Tamagno, so offensive as rule aSIuie
and eloquence under the inspiration OF Nerdi )
score. while his disunctness OF utterance becomes
exalted into most potent virtue AS lott W.
Maurel. his lago is certainly one or the most stlk
ing operate creations of the present time IL
| With the Iago OF Shakespeare If the music did
tell teectua manifestation As il is NJ Maurel seeks
| TO supply the enforced deficiencies by varied ana
| Intelligent byplay. Of which much must be SAID IN
praise. but also of which more might be said II II
were not so plainly addressed 10 me pubic "a
highest sense than his narration OF Cass4S v a.
legged perhdy TO 0teilo eann9; be im@snea yt
| them and to the Moor. il seems unsraclous
svsasa ems so Intelligent emotional and moving
| as that witnessed last night; but where there Is
| detract from n Maurel's great merits to direct
attention TO one fault which after all may be said
| TO be due to excessive zeal There were many
scenes OF rapturous delight in the course OF last
nights performance. but no tribute was inner than
| the promptness with which the audience sup
| messed every attempt to Interrupt the play with
| applause In the middle OF scene Even NJ Maui
REFS 'Credo' (his first triumph. for his entrance
| was effected so unobtrusivey that ne escaped
recognition in the first act was permitted TO pass
| with its effect unmarried by injudicious paudlts
| Nine Eames-Story' return TO the metropolitan
| Onera House was signalized by a lovely and de-
| served demonstration Of welcome. which also was
| postponed TIL the end OF the first act In this act
| She suffered from the untunefuness OF the tenor
| she is held by beautiful and effective singing and
| acting IL was her first appearance here In the
| character OF Desdemona. which however. she has
| in