New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-10-25
johnny Lind in Tripler Hall.

seats were al! hled BY o clock by brilliant
and, if warmth of applause be any standard.
most sympathetic audience The aises were
left free There was no hustle or confusion and
the most acrid critics could not complain of Mana
ger Banums arrangements in the hall last even.
ing 1t was filed to its capacity. and finer sim
liar comp d'acR is nowhere presented. The crowd
outside in Mercer.st made more noise than any
crowd so collected should be allowed to make on
such an occasion.
Upon her entrance Jenny Lind was warmly bu
not enthusiastically received. The first Rercs
excitement has passed, and as she is promised to
us for as long as we choose to hear her there wss
an evident settling down to long enjoyment in
the manner Of the audience. The artist herself
is no longer doubtful or embarrassed Her fist
recitatve and air from Der FrsiSchat. were given
| truly and clearly, and as she went on warming
herself and her audience to the final Echo Song.
there was only to be noticed and then,
slight uneyenness in her yocalization
1t is useless to argue about Jenny Lind. She
and her singing, or rather She for they are one,
has character so pronounced and permanent that
we must like vl Irnuiu iudtnerent IN the degree
that we are susceptible to the influence OF genius.
1t is impossible to persuade a man that she is
warm if he thinks her cold. You only prove
to him that his own feelings may change that
possibly this is something so new in its character,
that one whose taste has been educated in toch-
meal school and by inferior artists may mistake
difference for nferority, and because he is beyond
his own island fancy that there is no other shore.
Or it may be possible to convince him that
Italian passion as we choose to call it, may not DO
the truest or profoundest passion that the Italian
Opera is preferred simply because its sentiment is
more easily understood, and understood because
the deeper and purest passion lies quite below
the scope Of our ordinary life. How many OF the
kdded critics who sit in juryment in Paris or
London or New.York really know whether Lu-
crezia or Don Giovanni is well rendered? How
can they know if they havo corresponding eX-
perience' The songs may be exquistey sung.
and the skill and sweetness perfectly appreciated,
but a woman must have Lucrezia latent In her
nature, and man must be possible Don Juan,
or thew are not capable of speaking artistcally to
tbe representation of operas, which, it they are
real works of art, are written from the same depths
of experience. There is great deal Of twaddlc
afoat in our conversation about this Italian pas
sion We say that only an Italian can sing Italian
music as it should be sung, because be alone
knows and is Italian AS if Shakspere had not
seized the sweet secret of lta y in Romeo aud
Juliet and that the Poet, and every artist in the
| degree of his genius, is cosmopolitan Shakspere
was man and of the world before I've Poet
and an Engshman. That Jenny Lind is a Swede
has nothing to do with her representation OF pas
sion. The chances may be against it, but nothing
more.
With her it ia not that some one else has sung a
song as we'll that Persiani or Viardot or Adelaide
Kemblc trilled and diminished, sang forte or sang
piano with skill as great, nor is it that her shake
is unequalled That her creScend0es and dimtnu-
endoes are exquisite-or that her vocalization is
beyond that of Grsi-which makes mars her
greatness nor ia it the nero novelty of north
ern Prima Donna the prestige of a Swedish
success on the stage where Grisi was glorious,
that explains her position. 1t is netting pro
founder than these, and OF which they arc but
symptoms and results. It's in fact, because Jen-
ny Lind is great artist, using the word in its
grandest sense, not mere manipulation, not a
sklul singer, for mechanism and skill never
achieve this kind OF fame but woman. Of great
magnetic and perceptiye genius, whom the Gods.
as they do always with their favorites, have en-
lowed with wonderful organ of expression.
Yet while we feel so deeply this greatness,
which is final of Jenny Lind, we do not deny that
as yet her whole nature has not been developed
in her fc-so far as one may Judge from her
works. She las not yet ovod perhaps, with all
the magnificent power of which she is capable,
and it is by such and similar experience only that
the full force of any nature can be developed in
life. And if we did not feel this-f we did not
feel in her singing as do in tho radiance finer
presence and the pensye or placid depth of her
eye all this passionate possibility far and fag be-
You'd that of any contemporary woman except in
some senses, Rachel-wc should admit also that
her singing were an exquisite, glittering ara
besque of ice and wonder at the failure of Fate.
Gris, on the contrary, has loved her utmost She
has loved and hated, and you feel it in her music.
The nearer gets the whole Grisi, and truly it is Il
great getting; it is passionate nature, but very
limited it is beautiful woman, but there is a
more beautiful beauty. They not to be com
pared; if you will one star dihereth from another
yet is there but one brightest
We have never felt the presence of genius in
any person more strongly than in Jenny Lind 1t
is not denied by many who fond Of saving that
she is yet cold singer. But that is kind of d.
yorcc impossible in Nature. Genius is power
underlying characterasmuch as expression. Sowe
had recently occasion to say-if ConeggiO paint
ed beautiful pictures, it was because his soul was
beautiful. All RaphaePs pictures look like Ra-
phael, Goethes poems and prose are his portrait,
and Beethoven froyns fiercely and strangely
smiles through all his music
The fact is seen in cotemporary singers. Per-
siam was the perfection of vocal skill! as AIbon is
the perfection Of mere voice, unaccompanied by
the highest personal character or dramatic power.
We have heard Persiani shower out the music Of