New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-10-09
,yeupy Lind In Sacred Musio-BeiIetti Like-
wlae-Der Freyschutz, sc.


BOSTON, Sunday, Oct 6, 1850
III tbs Editor of The Tribune;
The Castle Garden Concerts were grand til
umphs In their way. In them US fully recognized
voice, style soul, genius which justin sd the
title, Queen Of Sopg. And yet 30 far as JENNY
LIND could actually reveal her hgbest art and
ttuest self in those promiscuoun and rather ad cop
tandnm programmes, they were more matters Of
insight or Of inference to of her hearers, than
of positive and pal2able observation to al. The
musc which abe sang, with very few exceptions
was not equal to the singer. The meaning OF Ter
waJ not containable or conyeyable in such slight
vehioles She was by some called cold, expres
siou.less because the music I've mean the compo
sition commonly gave 30 little to exPreRs, COM
pared with her capacity Of feeling and expression
except it were her sound and never falling senti
ment Of Art and Beauty, which ensured grace, a
nssuralneEg, a freedom, and characteristic indt
viduality ia Whatsoever she attempted At the
time her voice played heartily with musical imta
tiona echoes, and the sparkling Embellishments OF
the light operate bravara, Ike the mngling OF the
songs OF forests full Of bisds, aruos909v YsAagna
At another she delivered with the truest taste and
feeling such Of the 80 called classic specimens Of
pure Italian opera of this day. In both her song
YVES natural and sympathetic she gave the beau
ty Of the music as it was given out to US be-
| fore but her soul knew CT better and of deeper
the true music for her was what she seemed to
| hear afar as those deep.set violet eyes' habltu
ally wandered off and upward with listening look
TIE Tribune wound up every notice with q call
or strong desire to hear her in great German mu
sic, whether in the form OF opera, aong, or sacred
oratorio. 1t was Atimated that the real depth Of
greatness of her genius " ere to greas extent re
served for greater muao; that she would pour
her passion out in music like Won Weber's, and
be worthy and sublime interpreter to the great
sacred melodies of Handel. A Boston audience
has had the happy privilege of first realizing these
expectations. On Saturday night the fremont
Temple was crowded with the most approaching
audience yet assembled, to listen to these ofsier
efforts OF her Art, and never have shared deep
and pure enthusiasm with 20 many. Every ndi
yidual OF these thousands will date back to thia az
one Of the high and glorious hours Of life. Mus,
never made in America such a triumphant ssssr
ton of it'd power. The question Of the deep feeling,
the high artistic imagination, the genius ofJEHrr
LIND was as conolusively settled, as the unriTeIed
beauty OF her voice and execution, and her conaum
nate taste had been before.
The first half Of the Concert comprised sacrsd
music; the overture, however, shat TO Mozarss
Clemen7a di Tito, waa so only by adoption. That
was followed by the bass solg "Why do tho Ma
tons ragep from Randel's Z" Messiah, sung in dis
tinct English by BELLErTI, who surprised US by
his appreciation and mastery of the most quaint
and fgurative aty lie OF Handel.
Then came the most religious and sublime o
songs: 81 know that my Redesmef ltveth.' Ev'
cry face WAS turned with the prooundest tsrest
o JENNY LIND az abe came forward in the white
gsrb OF purity, and with look ofmodess innoc'n'e
and faith. Shs commenced the song firmly and
confidently, and carried it through with lofty and
sustained inspiration, which could dispense with
every ornament, and which we neyer hsard APP
prosched in any former rendering ofthat music
Those tones, 30 sweet and noble aud sincere, 80
Teehted with meaning, and elastic with great
hope hCd Trust, seemed lik q the fit and chosen ma
dunn of that music and that sentiment We do
not remember more than two ornaments or rather
variations from the literal text; and ihess wers
most slight in themselves, moat telling in their con
Aecton :--onoe n short trill, which was perfectly
elastic, and once, inst ,for3 its close, sudden
lighting from tie dearest hight OF soutd upon
the written note which lifted she whole ssran az
once 10 an ans sic rapture The words 1.-The "a!
fruits fthem that slept we're given win
ouistely subdued ard peusiee tenderuess, IL ia
not extravaganza to se5 that 80 much son and gs
MUS never before hpeke to us in song Ii wAs the
religion Of Art, as we'll ss Art employed on are
gious subject The whole audience we're Inspired
transported and TIE song was sung gain entf-,
with an expression enhanced by the perfect sym
patty she now felt in her audience. And ell the
sentiment and music Of the songglowed IN the SAB
lime tranquility of her face as she stood when her
voice had finished and the instruments were clos.
ing Happy the artist who could paint or dagoer-
rcosype that expression.
After Gig. BELLETTIs beautiful rendering of the
Pro Peccatts, jenny LIND commenced another
Great song, in very difficult atyle, namely On
Niebty Pens" from the Creation And quite
"a fully as before did che identify her Luscious,
t1mpetbatc voice with the fresh, childlike, grace
FIJI fervor of that music. Her soul seemed to go
nut to meet the happy sights and hsrnonies Of
nature the glorious sweep OF the eagle, the
cooling OF the doves, the mingled melodies OF birds,
were all alive and admirable sc exquisite tokens
Of the Fathers presence In her rapturoQs laby
rinth of song. She sang that mu'io con amore,
and Haydna spirit if 1t heard her, must have in
wardly rejoiced
The Second Part was secular and miscellaneous,
commencing With the overture to Massanetell0, and
the tore Of Dandslo In Cinderella, the fine sppet'
zipe grace and honor of which muaic Sig, BEL
LErrl so completely rendered that he was COM
PEELED te repeat it. The Norshera songssEesa then
yindcated her claim to tbs dramatic and imPM
stoned in tie music from Der Fressc&ut7 OF the
| scene where Agatha awaits Der lover The prayer
] IL. a..ont "a tandar and thu nnkhurhK