Article on theatrical music

Event Information

Venue(s):
Niblo's Garden

Event Type:
Play With Music

Record Information

Status:
Published

Last Updated:
22 August 2018

Performance Date(s) and Time(s)

26 Jan 1868

Performers and/or Works Performed

1)
Text Author: Mortimer

Citations

1)
Article: New York Herald, 26 January 1868, 6.

"It is seldom that the voice of porophecy or warning has its value exemplified within such limit of time as will permit of its receiving due appreciation or acknowledgment; seldom, indeed, that the consequences foretold follow so rapidly and with such distinctive force as they have done in the case of our own remonstrances against the incompetency of our orchestras. We have on more than one occasion lately called attention to theatrical music, pointing out how and why the band was usually the worst feature in the theatre, and showing that, although the conductor may in many instances be worthy of blame, a large share of the fault most commonly lays at the door of the management. For technical reasons, which every musician understands, the orchestra of as theatre, to be a good one, must be considered in a more liberal spirit than is, perhaps, absolutely essential for other auxiliary departments of the business; and where the manager, ignorant of music, ignores the advice of his leader and introduces his administrative power into the mystic circle he usually injures his own interests and illustrates the old saying of penny wise and pound foolish. While censuring that which is bad and against the permanent welfare of the theatres, we desire only to speak in the public uinterest and as well wishers to all our city houses, and feel more pleasure in acknowledging and applauding the results of care and liberality than in condemning the failings attributable to parsimony. ‘Palman qui meriut ferat’ is the compass that guides our criticisms.

The instance that we allude to at the moment as showing the realization of our fears and the truth of our warnings occurs in the new spectacle at Niblo’s Garden, and in speaking of this we would have it understood that we do not for a moment question the musical ability of the conductor at that theatre, not are we in a position to state definitely that the blame we allot to that house is attributable to him alone. The ‘White Fawn’ has been a long time in preparation; artists have been brought from theatres both at home and abroad to fill the several parts, and in point of fact London and Paris have been laid under contribution for every department. Gorgeous dresses, beautiful scenery are relays of ballet are there in such porfusion as is seldom found in any one theatre; but where is the music? The introduction alone is worthy of being heard. For the rest it is undignified, tuneless and totally without effect. The songs are badly accompanied and the assistance the singers should receive from the wind instruments is wanting. If an opportunity was ever found for musical display in such a piece as the ‘White Fawn’ it exists in the procession that brings that play to a close, while the march that occurs in the earlier part of the piece affords room for grand orchestral effects. The fuinakl situation is so similar to one of the principal scenes in ‘L’Africaine’ that we presume it has been borrowed from that opera, and for that admirable music was provided by Meyerbeer himself. Hadthe music as well as the scene been taken, or had the march from the ‘Prophète’, or the ‘Druid’s March,’ or some other work of melody and instrumentation been used, the prosperity of the piece would have been considerably facilitated.

Many managers appear to think that, provided their company is a good one or their stars attractive, the orchestra is altogether a second consideration; but they make a great mistake. The audience are pleased or displeased with the general effect of the evening, and though few may take the trouble to analyze their pleasure or discontent, those who do so have generally something to say on the score of the music. To cite an instance from the Old World, it was neither Grisi nor Mario that made Covent Garden the first Italian Opera House in the world. It was Costa and his band; and his with other cases might be named to show that while a good orchestra may save or make the reputation of a theatre, a bad one will sooner or later destroy it.”