Strakosch Italian Opera: Ruy Blas

Roster and scene list.

Never before heard outside of Italy; American premiere, in advance of England, France, and Germany.

“The ‘Ruy Blas’ of Flipppo Marchetti was first performed at La Scala, in Milan, during the Spring of  1869, and since then has made the tour of Italy with no slight success, and been heard, we believe, in some of the cities of Germany and Spain, though it has never reached either France of England. It is the second work of a young composer upon whom rest many fair hopes of the lovers of the old and fast vanishing school of Italian opera, the school of Donizetti and Bellini, with its salient melodies displayed upon the scaffolding of a drama with which they have no essential connection. He is now engaged upon another opera to be produced at La Scala next season. Mr. Strakosch has possibly done well in selecting ‘Ruy Blas’ as one of the novelties of the year in New-York, for it has many qualities which will win for it a certain measure of popular favor, though Marchetti is not likely to stay the decline of the style which he represents. We find in this bright and showy opera no indication of strong genius and no marked originality. Its beauties all lie on the surface, where the least attentive and least cultivated listener can readily apprehend them. They differ neither in form nor spirit from the happy thoughts of a score of other Italian melodists, and they are full of incongruous reminiscences of a multitude of composers—of Gounod, Suppe, Strauss, Offenbach, and above all others of Verdi in his earlier manner. The distinguishing merit of Marchetti is fluency in the production of melodies and skill in the arrangement of the conventional operatic finales. The scena, the aria, the duet, the chorus, the pezzo concertato follow one another with due regularity, and they are separated by the usual stop-gaps of recitative which serve both to set off the tunes as a jewel is displayed by a dark back ground, and to give the principal artists a chance to take turns in the exhibition of their powers. The orchestra never obtrudes itself upon the voices. It has no story of its own to tell, no sentiment to convey, no consistent idea to carry forward through the development of the drama; it is merely the ‘monstrous guitar for the accompaniment of arias.’ ‘Ruy Blas,’ in short, is the typical Italian opera, with all its sensuous charms, its intellectual barenness, and its emotional insensibility, from which the world during the last ten or fifteen years has been steadily drifting away. It is the sort of opera which answers well for an evening of fashionable amusement, having the requisite six or seven pretty melodies to rouse the attention of the house, and the proper proportion of conversation music that will not interfere with gossip in the boxes; not an opera that will live, but one that will be sure for a time of an applauding audience. It opens with a Prelude of three or four minutes length. The flute gives out a short phrase, repeated afterwards with some ingenious modulations and changes of instrumentation, and seeming to indicate the fundamental idea of the opera,--but we soon discover the ‘Ruy Blas’ has no fundamental idea, being merely a string of graceful and easy melodies. The violoncelli and viole then take up a rather solemn movement in two parts, a sort of canon, in which the other strings and the wind instuments soon join, and after some effective passages for the horns and trumpets the curtain rises upon a hall in the royal palace of Madrid. The first number is a duet for Don Saliustio  (baritone) and Don Guritano (bass), ‘Come protegga,’ which is likely to have a moderate popularity; the second part, ‘Piu d’ogni bene,’ is perhaps the best of it; the finale is brassy and vulgar. The succeeding aria for Don Saliustio is notable for the pretty accompaniment of horns with which it opens. A scena and duet by Don Saliustio and Ruy Blas (tenor) is pleasing enough, but the device of giving Ruy Blas an amorous revery mostly in soft monotone has not been wholly successful. There is next a weak quartet introducing Don Pedro and Don Fernando (second tenor and second bass); and the Act ends with the approach of the Queen and the Court, the cortege being attended by a brass band on the stage. The chorus which bears the burden of this finale, and which recurs several times in the subsequent parts of the opera, is very simple. The first Act as a whole is dull. The second Act represents a garden attached to the palace, and the business begins with a little chorus of women, a dance measure in 6-8 time, leading into and occasionally interrupting a grand scena for The Queen (soprano) and her maid of honor Casilda (properly a mezzo-soprano, but represented by Miss Cary), in the course of which The Queen has an impassioned andantino melody, ‘O madre mia,’ cleverly written after a well-worn pattern. The ballata for Casilda is one of the principal show pieces—not very pretty in itself, but exacting a display of vocalism which will always win applause for it if it is properly executed, as it certainly was by Miss Cary. After a bit of rustic chorus from without, The Queen has her grand scena, ‘Sela co’ miei piensier,’ with an andante sostenuto, ‘Larva dorata,’ full of grace and feeling. But Marchetti, though he begins many things well, finishes most of his work badly, and the beautiful andante soon changes into a very common allegro agitation with a heavy brass accompaniment. The next number contains an ingenious yet simple quintet and chorus, unaccompanied, which was heartily redemanded. It is followed by a dull duet between Don Guritano and Ruy Blas; but the finale of this Act, a terzetto between The Queen, Casilda, and Ruy Blas, is exceedingly effective. The third Act opens with a scene in the Council Chamber, chiefly valuable for a vigorous declamatory aria for the tenor, in which occurs a charming andante movement, ‘O Carlo Quinto,’ and close upon this succeeds a soprano and tenor duet, which closes with an ecstatic passage in the very best manner of the Italian school, Sig. Carpi making a point at the end by a splendid high chest C, and sustaining a prolonged A flat repeatedly during the piece. It is with the third Act that the interest of the opera really begins. There is but a poor duet for the encounter of Ruy Blas and Saliustio; but a concerted finale of the sensational pattern obliterates the impression of this tiresome number and brings down the curtain in a round of applause. A short and by no means remarkable Prelude introduces the third act, the scene being a cabinet in the house of Saliustio. The opening tenor aria is rather graceful, but it is marred by an unsatisfactory accompaniment, and the two succeeding numbers, a scene for baritone and an arietta for contralto, are trivial. We have something pretty and neat, however, in a lively duet for contralto and baritone, and there is great dramatic force in the scena and trio for The Queen, Ruy Blas, and Saliustio—a piece conceived in a higher spirit than anything else in the opera and showing something like inspiration. Nor does the good genius of the composer desert him in the succeeding duet (Ruy Blas and The Queen), with which the opera comes to a sentimental and not ineffective end. The impression produced by this scrappy and jejune work as a whole is certainly not a deep one, and musicians will set little value upon it; yet we dare say it may catch the breath of popular favor and give a little impulse to a season which needs stimulation. It has been placed on the stage with careful preparation, and some good bits of new scenery are exhibited, though there has not been much attempt at spectacular display. The cast was as follows [lists cast].

The four principal artists were all excellent, the chief honors falling perhaps to the tenor, though Mme. Potentini deserved an equal share. Miss Cary and Sig. Del Puente were cordially welcomed. The representation was smooth and even brilliant, and Sig. Muzio deserves the highest credit for the discipline to which he has brought the forces at his command.”

Accessed via the New York State Historic Newspapers database: long review, too faint to transcribe, but concluding: “One the whole the opera was ably rendered, and with the added smoothness of one or two additional representations, especially with a little softening of a little exuberant force in the orchestra, bids fair to win permanent place in the repertoire of the present season.”     

“The new opera ‘Ruy Blas’ was performed for the first time in America last evening at the Academy of Music. There was a brilliant assembly, including many representatives of the world of art, who were drawn thither to form an opinion of Marchetti’s powers as a writer for the lyric stage.

In our impression of yesterday a critical and analytical notice of this opera was given, which was written without reproducing any part of it by actual sounding of the notes, but simply by a perusal of the score, the imagination enabling us to see and hear things neither seen nor heard. By thus contemplating the whole work in silence, no material manifestations with their innumerable natural defects which are inseparable from the best performances, or the seductive influence of the sensuous element of art, can operate to cloud the judgment and interfere with the pure, unbiased reception of the ideal of the composer. Having now had the opera present visibly and audibly in all its fullness, the attention is naturally drawn temporarily from this contemplation of the ideal as it appears to us, to a consideration of the conception of the composer’s meaning as approached by those engaged in realizing it, their success or failure in attempting to give their own interpretation, a comparison of this with our own ideal, and also particularly to the effect produced on the vast concourse of people who formed the audience last night. It is evident that whatever finds an echo in the breasts of multitudes must contain within itself some secret charm which students do well to seek to discover, for thus they may find new clues to realms of thought, feeling and modes of expression, which when explored will yield rich treasures. But a few remarks must here suffice for the present. The part of the Queen of Spain was given by Signora Potentini. She first comes into view in the gardens adjoining the palace at Madrid, at the beginning of the second act, where she appears to be absent-minded and preoccupied with thoughts of some unknown admirer, during which the orchestra intones for the first time the love-motive, to which reference has already been made. This state of mind is then removed as with an effort, and subsequently she sings with great passion and energy the ‘O madre mia,’ expressive of longing desire to see her native land. Signora Potentini’s rendering of this and the grand scena ‘Larva dorata’ was highly extolled. In the duet with Ruy Blas in the third act, and elsewhere, her acting was most powerful, and was not considered over-demonstrative for this particular part. In the grand finale of the third act, high C was produced twice with very good effect, the text being altered that the linguistic tone-tints might aid in the formation of a musical tone of greater abstract beauty.

Miss Cary sang the ballata, ‘C’era una volta,’ of the second act so admirably that had the composer been present he would hardly have failed to offer a tribute of praise. She raised the audience to enthusiasm, and was prevailed upon to repeat one of the verses. At a miscellaneous concert singers usually select the works performed, and on receiving unanimous encores generally take the entire compliment to themselves by singing another song of some other composer; but in an opera they have no such power. But it was evident last evening that Miss Cary was entitled to exercise it. Such excellent performances make so deep, varied and lasting an impression, that music thus presented gains a new and surprisingly great accession of power and influence over us. Even themes disliked may in this manner take so permanent a hold that they may exist in the memory—rise and pass before the consciousness—and haunt us like phantoms of songs no longer heard.

Signor Carpi’s was so good that he also won the high admiration and approval of this critical audience. His emphatic delivery of ‘O Carlo Quinto’ and powerful rendering of the scena and aria at the opening of the fourth act, which was written for Signor Mario Tiberini, were especially commended. At the point ‘O dulce volutta!’ where the love-motive is sung for the first time, as in an ecstasy of joy, the tones of his voice became tremblingly alive with emotion, and the audience, recognizing the theme, were obviously affected by it.

Signor Del Puente was enabled to display his admirable voice in the ‘E luiè lui!’ phrase, to which allusion was made yesterday, and even in the graceless part of Don Sallustio, he found many opportunities to win applause. Signor Fiorini sang the ‘Come protega’ of the first act most admirably. The rest of the soloists, the chorus, and the orchestra, under the direction of the distinguished conductor, Signor Emanuel Muzio, acquitted themselves well.

The new scenes by Signori Arrigoni and Garibaldi were highly praised, and the excellent stage manager, Mr. Van Hamme, made all the arrangements entrusted to him so carefully that even on this first representation no embarrassing dilemma resulted.

The opera in its entirety was presented so very creditably that all those engaged therein gained for themselves, if not for the composer also, new claims to be regarded with favorable attention.

The merits of the work itself have already been discussed, it is hoped, with a freedom from prejudice, from partial, narrow or one-sided views of the nature of musical art, which manifests itself in forms as innumerable as the individualities of those that employ it to express their thoughts, feelings and emotions, or in whom it is the natural and direct evidence of the possession of what is commonly known as high animal spirits.

The performers did their utmost to hide the crudities which occasionally present themselves; but the heavy brass instruments cannot be so humored that the diminished thirds occurring at the beginning of the finale to the third act may have a pleasant effect.

Although the work is not entitled to rank with the grand opera of the present, still less with that of the future, it is not desirable to dwell on its shortcomings or discourage any youthful composer. To him, however, the mere fact of his work receiving attention at the Academy of Music should stimulate him under any adverse circumstances to make fresh exertions. Should it fail he will persevere with renewed hopes, being cheered by the reflection that to the musical artist every failure is an additional preparation for subsequent successes.

Many of the auditors at the Academy of Music last night were amazed at the number of Spanish grandees who exercised the right of not uncovering their heads in the presence of royalty.”

“The first novelty of the season was presented last night at the Academy of Music. Filippo Marchetti, a young Italian composer, brought out a lyric adaptation of Victor Hugo’s celebrated drama, ‘Ruy Blas,’ at La Scala, Milan, over five years ago, and since that time the opera has been frequently performed in Italy. Last night it was heard for the first time outside the native land of the composer. Mr. Strakosch may well claim the distinction of enterprise as an impresario. He has already given us ‘Aida,’ ‘Lohengrin’and ‘Ruy Blas’ in advance of the principal opera houses of Europe. The opera last evening was placed on the stage with completeness in every detail, and the cast was very strong, consisting of Mme. Potentini as the Queen of Spain, Miss Cary as Casilda, maid of honor, Signor Carpi as Ruy Blas, Signor Del Puente as Don Guritani. Mr. Fechter has made the metropolitan public so well acquainted with the drama that it is only necessary to say that the libretto embodies the main features of the original. The opera is in four acts and the incidents are identical with Victor Hugo’s great work. The composer evidently has taken ‘La Favorita’ as a model, for reminiscences of that opera are very numerous. The music, as we have said on a former occasion, is thoroughly Italian, but we cannot accord it the standard of Verdi or Donizetti, which it imitates. The prelude is rather pretentious, but not effective, and comes to an abrupt conclusion. At the rise of the curtain the peculiar instrumentation of phrases in chords of sixths does not give a favorable idea of what follows. There is a decided Meyerbeer tinge in the orchestral coloring of Don Guritano’s first scene with Don Sallust. The latter personage has rather pretty music in the aria, ‘Piu d’ogni bene in terra,’ and Gounod comes to the aid of the composer in the succeeding duo. The lyric interpretation of the passionate words of Don Sallust, ‘Scacciato! bandito,’ is very feeble and the theme, although it is frequently repeated throughout the opera, is not inviting. A semi-barcarolle duet between the tenor and the baritone which follows is also commonplace. A reminiscence of ‘Un Ballo in Maschera’ comes in later in the continuation of the duet, and the first chorus, ‘Alla vaga e pia donzella,’ is unworthy of grand opera. A few bars of ‘La Favorita’ engage the attention of the female chorus at the beginning of the second act, and at length we reach the first decided melody of the opera, ‘O madre mia,’ given by the tenor. The contralto then sings a sort of mandolinata Spanish air, which needs only castanets and Andalusian dress to complete the picture. Gounod next comes in for the Queen’s first scena, which is followed by a quintet with chorus, without accompaniment. This received an encore last night. The succeeding terzetto, full of sensuous melody, is spoiled by the weakness of the instrumentation. Traces of ‘Les Huguenots’ may be found in the commencement of the third act, the best in the opera. Ruy Blas has a fine solo here, commencing with ‘O Carlo Quinto,’ but marvelously like ‘Ernani.’ The next is a duet for soprano and contralto, a real gem, with reminiscences of ‘La Traviata.’ Passing over the duet for tenor and bass, an effective number, we come to a fine finale, octet with chorus, strongly built and imposing. Verdi’s Violetta is heard in tenor form in the beginning of the fourth act, and the contralto sings another characteristic Spanish song. A pretty duet for contralto and baritone follows, and then comes a gem terzetto for soprano, tenor and baritone. Mme. Potentini had an arduous rôle, and she gave entire satisfaction by her artistic rendering of it. Miss Cary, one of the genuine stars of the operatic stage, repeated her successes of Amneris and Ortrud, and Carpi interpreted the title rôle with vocal ability of a decided character. Del Puente, one of the most reliable artists of the company, made the role of Don Sallusto one of favorable prominence, and Fiorini failed to invest Don Guritano with any interest. The opera, as may be seen from our brief résumé, is full of reminiscences, if not absolute plagiarisms, and the orchestration is devoid of virile power. There are a few numbers in it that may be regarded as catching and over which the average opera goer will indulge in ecstasies. But Signor Marchetti’s music, sensuous and flowing though it may be, is not robust enough for the tastes of musicians accustomed to Meyerbeer, Verdi and Wagner. There is a want of positiveness in his lyric illustrations. The opera was placed on the stage with all the finish and splendor that it demanded, and as far as the management or the company were concerned nothing was left undone to make it a grand success. But weakness is one of its inherent qualities.”

“Signor Filippo Marchetti’s opera of ‘Roy Blas,’ represented for the first time at the Scala Theatre, in Milan, April 3, 1869, had its first hearing, out of Italy, at the Academy of Music, Wednesday evening. The impression of the work, as that of its earliest representation, was exceedingly favorable, and although we should not like to say that ‘Ruy Blas’ will hold a very prominent place in the répertoire, we are quite sure it will remain one of its recognized elements for some time to come.

The incidents of the libretto [synopsis follows].

Signor Marchetti has accompanied the recital of these events by a great deal of good and by some very fine music. ‘Ruy Blas’ is more of a lyric drama, in the true sense of the words, than nine modern operas of every ten, and yet the writer has not shown so complete a contempt for old forms as to cast these not wholly unwelcome things aside, only to fail after so doing, just as every one, Wagner excepted, has failed. It is, however, proper to remark that a large share of the dramatic force of Signor Marchetti’s composition is derived from its subject and its development by the librettist, who has steadily adhered to the progression laid down by Hugo; there are portions of ‘Ruy Blas,’ the conventionality of which would drive a Wagnerian to madness, though an audience of average experience and culture would doubtless be all the better pleased by the variety. In fact, Signor Marchetti, alive to the value of self-knowledge, and aware that his creative powers scarcely fitted him to cope with Verdi, while his skill is not equal to that of the composer of ‘Lohengrin,’ has sought to strike a happy medium between the productions of the Italian and the German school. The attempt has resulted in an opera which is undoubtedly more Italian than German, but in which a substantial treatment of the themes, an effort to bind in a more sequence the familiar arias, couplets and concerted pieces, and a relative sobriety in the use of vocal ornament, indicate clearly the influence of German theories and German success.

After a first recital a complete résumé of the remarkable passages in ‘Ruy Blas’ will hardly be expected. The dialogue throughout the opera is furnished with a substantial accompaniment, colored cleverly and with a minuteness of shading well calculated to enhance the significance of the text and situations, and the first two acts, and especially the first, are richer in writings of this sort than in anything else. Still, in the opening act, there is a broadly-phrased soliloquy for Don Sallust, expressive of his hatred of the Queen, and at the close a vigorous chorus, with an alla marcia movement, serves as a finale. In act the second we were not particularly impressed by the Queen’s song breathing the sovreign’s regret for her native land, nor by the contralto’s song, ‘C’era una volta,’ to which, however, the public took a fancy. But further on we noticed a fresh and pretty chorus, commencing ‘Quando l’angel del bosco;’ a delicately accompanied invocation of the Queen to her unknown lover beginning with ‘Larva dorata,’ and ‘E svelato il mister,’ and an admirable quintet—admirable, at least, as a specimen of effective composition for unaccompanied voices—and which was repeated amid genuine enthusiasm. In the third act, the dramatic essence of ‘Ruy Blas’ asserts itself with increased eloquence. First comes a stirring bit of lyric declaration—reminding one somewhat of the first lines of the finale to the third act of ‘Ernani’—and assigned to Ruy, who invokes, as Ernani, the shade of Charles the Fifth; and then after some telling phrases for Ruy in the initial lines of an extremely shapely and grand duet, an andante sostenuto, the motive of which is, so to speak, the woof of the love [passage?] of the work. This duo, which by the dramatic situation it occupies, its form and its exquisite blending of voices and instruments, brings forcibly to mind, without suggesting any thought of plagiarism, the end of the fourth act of ‘Les Huguenots,’ is the strongest number of the opera, and was sung twice. In the second scene of this same act, a well-scored march deserves mention, and also an octet with chorus, which constitutes an impressive finale. In the fourth act, the bars of Ruy’s soliloquy, commencing ‘Morrò,’ are graceful, and replete with a tender sadness, which was at once admired; but a dainty canzonetta, ‘Il ducca or qui verrà,’ passed well-nigh unperceived. This canzonetta is for contralto, and the duet between Casilda, who sings it, and Don Sallust, is full of nice detail and piquancy. The meeting of Don Sallust, Ruy, and the Queen is ingeniously managed, but does not appear to rise much above the plane of ordinary illustrative music.

Wednesday’s representation of ‘Ruy Blas’ passed off smoothly and with decided effect. We propose, however, to enter into the particulars of its second rehearsal at greater length. Day before yesterday, there was much applause, but the really dramatic recital of the work which every line of the libretto and every note of the score suggests to be possible, would, in our judgment, give pleasure of no ordinary kind. On the occasion we write of, Signor Carpi delivered his music with steady charm of tone and manner, but only once—in the duet—departed from a reserve we scarcely associate with Hugo’s or Marchetti’s Ruy Blas. Signor Del Puente did equal justice, vocally, to Don Sallust, but he was neither sombre, nor vengeful, nor grand. Signora Potentini’s strong voice sounded well in the concerted pieces in which the Queen’s uppermost tones are of the highest value. Miss Cary’s personation of Casilda left nothing whatever to be desired. We need but add to the foregoing record that after the duet, the third act, and the last, the artists were summoned before the foot-lights.”

“The second representation of ‘Ruy Blas,’ which took place at the Academy of Music last evening, confirmed the favorable opinion which grew out of the earliest recital of Marchetti’s work. ‘Ruy Blas’ is a fine lyric drama, not indeed the achievement of a great creative composer, but the performance of a musician able to imbue himself thoroughly with the significance of his characters and story, and of a writer of exceeding good taste and exceptional skill. It cannot be judged by its ‘points,’ for these are not particularly numerous, but, as a whole, it is a successful effort to heighten by means of music, the impressiveness of a capital play. It may be argued that this is a poor recommendation to popularity, but it certainly is one establishing a strong claim to the admiration of dilettanti. The essence of Hugo’s tragedy is not cast into a single scene, nor can Marchetti’s score be criticized from an aria or a duo. The effective unaccompanied quintet, the duet in the third act, and briefer passages—most of which were noticed yesterday—awakened last night demonstrations of pleasure; the charm of ‘Ruy Blas,’ however, dwells in its beauty and eloquence as a tone-illustration of events splendidly fitted to interest and to touch the spectator. The new opera was still better recited on the occasion we write of than Wednesday, although the first rendering was smooth and telling. Mme. Potentini distinguished herself especially by an abandon which did not, for the nonce, impair the correctness of her singing, and Signor Carpi used his magnificent voice with a steady surety and ease which went far—so striking in the music allotted to him in the third and fourth acts—toward atoning for his excess of reserve as an actor. Signor Del Puente, who is a most acceptable representative, vocally, of Don Sallustio does not appear alive to the possibilities of the rôle. Signor Carpi hardly seems to suspect those of Ruy Blas, but Signor Del Puente’s indifference to the characteristics of the sombre and vengeful statesman is more surprising when it is plain that the importance of the part depends entirely upon the histrionic ability of the artist who fills it. We cannot make light of Signor Del Puente’s rich voice, of his easy delivery, or of his handsome stage presence, but we are convinced that a less gifted comedian would give more color to the personation, from the mere fact that his personal qualities, which could be safely depended upon in many operas, would be of slight weight in this. Signor Del Puente may elaborate his personation, however, at some future day, and perhaps if he had heard M. Maurel in ‘Ruy Blas’—and why that distinguished singer was not assigned last year a rôle he has made his own in Italy, is a mystery—we should have had, already, a more varied and forceful picture of Don Sallustio. The remaining characters in ‘Ruy Blas’ are portrayed by Signor Fiorini, Signor Hall, Signor Lotti, Miss Cary, and Miss Cooney, and are, as we have already said, in competent hands. Last night there were frequent outbursts of delight, the duet, of course, being repeated; and when the curtain fell, the performers had to come before the footlights.”

“At the Academy of Music last evening, Marchetti’s new opera ‘Ruy Blas’ was performed for the second time. Although this favorite resort was not crowded to overflowing with enthusiastic art-lovers, or made to resound with deafening thunders of applause as at the first representation of ‘Lohengrin,’ last season, yet several numbers were redemanded and then sung as with increased pleasure by the excellent singers engaged in presenting the work. Much is heard of New York audiences with reference to their powers of appreciation, their general behavior, their apparent indifference to the claims of high art, regardlessness of the sensitive nature of artists, & c., and comparisons of the most uncomplimentary character are often instituted to prove the superior cultivation, etiquette, &c., of those of European cities, which are discourteous and do not approximate the truth.

Those who have heard the incessant talking, and witnessed the utter indifference to the whole performance, or the actual attempts made to attract the attention of the house elsewhere—to say nothing of the cruel, heartless manner in which an opera or performer is hissed, mocked and ridiculed whenever anything which does not immediately please is presented, or whenever the ‘Clique and Claque’ decide, with malice prepense, to vilify, hoot or whistle down whatever it does not suit them to encourage—must readily admit that in New York no such behavior is known, nor do artists believe in the possibility of having to pass through such terrible ordeals.

The most respectful attention is here accorded to all that is offered for approval, and long enduring patience is exhibited during dreary, tedious performances, and yet spontaneous bursts of admiration are always forthcoming immediately [when] some transient good result is perceived to have been attained, which is a sufficient proof that the homage of silence has really been given, and not a passivity the evidence of stolid indifference or stupid wonderment.

For this reason the fate of an opera is not so soon decided here as in Italy, where instantaneous judgment is passed and summarily carried into execution. We have therefore yet to learn the verdict awarded the opera of ‘Ruy Blas’ by the subscribers of the present scene.

It is, of course, certain that the weakest operas gain by being heard several times. For there is an enormous class of lovers of music whose receptive powers are so feeble that they require to hear the same works repeatedly before a satisfactory impression of them is made. And when it is once formed the music continues to please them longer than it does those who assimilate with greater rapidity, and, therefore, sooner demand more mental nutriment.

After the performance on Wednesday evening, and again last night, many persons were heard humming or spontaneously reproducing, in various similar ways, the love-motive in preference to all others; for this occurs in five different parts of the opera, and therefore, as we had occasion to point out in the analysis of the work previous to the first performance, is the one most calculated to be identified and remembered.

Signora Potentini delivered the ‘O mia dolce Alemagna’ with still greater force, and with an expression of more painful longing than on the previous occasion; and in the soliloquy of the same act she exhibited the various phases of day dreams, communings, regardings of flowers and love phrases, and the fitful passion which threatens to entangle and overwhelm her, with such dramatic power that it was considered a masterpiece of characterization. Her voice, which has already exhibited a compass of two octaves and a major third, namely, from low A flat to high C, enables her to indicate great passionate emotion by simply reveling at will in this extensive range. The two registers at the break overlap each other for some distance, which allows for the union of both in the formation of a quality of tone which has great penetrating power, and forces us to make an inward response whenever Signora Potentini makes a direct appeal to the sympathies.

In the highly demonstrative part which follows the declaration of love in the third act there was a slight feeling perceptible that the acting was slightly overdone and that the high notes were more remarkable for power and intensity than musical beauty; but with many, and especially those whose ideas of art have been formed at the conventional Italian opera, music is as nothing if not extremely passionate, and does not allow for the periodical exhibition of convulsive efforts. And those persons at the high unisonal B flat, which forms the final climax in this duet, would more readily forgive excessive displays of frenzied excitement, of delirious, raging passion, than the more restrained betrayal of emotion, however ineffable may be the beauty of its expression.

Miss Cary’s delivery of the quaint and whimsical ballata in the second act fulfilled all expectations. The oddity of the persistent quibble of G sharp versus G natural, and the grotesque accompaniment of tympani and stringed instruments played pizzicato, by which the orchestra is temporarily converted into a gigantic harp, combine here to make a strange and marked effect. Miss Cary was most highly extolled.

Signor Carpi’s impersonation of ‘Ruy Blas’ was as successful a performance as the composer could desire. The voice, vocalization, acting, manner and agreeable presence of this highly welcome artist will soon be displayed to much greater advantage in parts which will make higher demands on his varied powers. Meanwhile it is pleasant to see how much he can accomplish in the present opera, without drawing upon the high C for mere effect’s sake—without any corresponding inward necessity. Signor Del Puente found in the first act and in ‘E rico è bello,’ of the fourth, themes in which his splendid voice could be heard to advantage. Its sonority and uniformly good quality are admired by all.

In the aria of the first act, ‘Ai miei rivale codere,’ the composer has written two unconnected minor chords that cause the employment of an unexpected, unprepared F natural on the word ‘stendera,’ which must be distressing to the singer.

Composers for the Italian Italian-opera (as distinguished from those of the French or German Italian-opera) wrote with such rapidity—they appeared to pride themselves on the incredibly short space of time in which they could produce an opera—that reflection and mature deliberation could hardly have been given.

For this reason singers are tempted to make slight alterations. We wish Signor Del Puente would take such a liberty, that we might wince the less on hearing this note, and feel more easy on arriving at the new key which succeeds.

In this opera it is frequently difficult to know if 3-4 or 6-8 time is intended.”

“The second performance of ‘Ruy Blas,’ the new opera by Marchetti, took place at the Academy of Music last night, with the same cast as before. Regarding the principal rôles, we must accord hearty and unreserved praise to Mme. Potentini, Miss Cary, Signor Carpi and Signor Del Puente, and the efforts of these artists in every part of the opera can only be characterized as really superb. When an opera, new though it be, is inherently weak, and the principal artists elevate it to a degree of importance which it does not deserve, it speaks well for the ensemble of the company. Mr. Strakosch has a good, well balanced, well working troupe this season, and with anything less Marchetti’s work would not have stood a chance the first night of its production. We have heard the first of the young Italian school’s works, and we certainly do not like it. There are many taking but imitative themes in it, but they are hand-organ like. If Signor Marchetti is an example of the new Italian school, then, in the name of musical progress, no more of it. Nobody wants at the present day the orchestra used as a huge guitar or hashed up reminiscences. When Bellini, Donizetti or Verdi wrote, even at the beginning of their careers, there was always something, even in their crudest works, to which the mind would cling; but ‘Ruy Blas’ is devoid of even popular melody. M. Strakosch and Signor Muzio have a better field to cull from than the young Italian school. We have not heard some of the best works of Meyerbeer, Wagner, Rossini, Verdi and Gounod for years. Why not give ‘La Stella del Nord,’ ‘Il Vascenio Fantasma,’ ‘Romeo e Giulietta,’ ‘William Tell,’ ‘Don Carlos,’ ‘Il Lombardi’ and ‘Il Profeta?’ Such candied sweetness as Marchetti affords us in this opera will not please, and to the merits of the four artists we have named and to the care and pains, united with the experience and intelligence of Signor Muzio, and the splendid stage setting, the partial success the opera has met with may be placed. The field of grand opera is too extensive to be occupied for a night even by such a puerile composer as Marchetti.”