New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-06-26

staptly supposes and demands dramatic genius.
The character itself IL In the way OF the enjoyment
of what il enjoy able In the artist This was plain
to see in her different reception at the French
Opera where she is now singing, and at the lta
ian last winter a year since. There were but few
times that the hearts Of the audience applauded.-
Their hands were occasionally noisy, but II was
very hard and thin appreciation; and she was re-
called at the end with exactly the kind OF applause
and enthusiasm that recalls De Jazet at the ' ar
ietes.
But YOU know the sweet old seduction which
made Petrarcb write Latin epics and have faith Ia
them, and you will rot he surprised that the lat
and fair is about to sing Leonors ia the Favonsa
For when the hippopotamus has esssyed the lion,
how can he rest until he has undertaken the Royal
Bengal Tiger
You survive the Opera in five hours and escape
at midnight. THANK Heaven, that s done! NO
more theaters for me. Hail, qset evenings and
lazy loiterings upon the Boulevards'
Hapless man new plot Is brewing-a new
conspiracy aaoat A smiling friend meets you of
morning and says, Z" Is mt she divine No;
abe Is too fat and laegy." GOOD God what do
YOU mean Rechelist Rachell' Eyes! mon
Dieu what are You doing at Paris? There s but
one thing Rachel in Angelo"
We potent Powers la vain you escape rom that
friend All the house walls are alive with ths al
fches; oil the journals and all the Feuilletons pro
claim Angelo" The whole world OF Paris Is IN
the plot. The very waters at the cafes hurry you
through your dinner surmsing that you wish 10
reach the theater in time. At length you feel your
self cons pirng against yourself Too tenacious and
truthful memory recalls those severe antique forms
that have lived for you only 10 Rachel Pheon and
CleopAtre and the mournful Marie Stuart plead for
Thisbe. You are doomed man! doomed, lzlon-
like, TO awake In heaven.
Rachel is greater in Thisbe than In any char
acter have seen her play. 1t was an old and
ever new regret in seeing her In the Old trencn
drama that there were no characters more coSnate
20 our human and daily sympathy, by which TO
test her genius. Those dramas are poor enough
They are sing song French renderings OF antique
majesty and power. In the drama they are what
DayiTs pictures are in psnting-a cold and false
imitation Of tire Antique, without stroke oil re-
deemiDg poetic treatment.
The Greek and Roman characters gain nothing
in Hec.ne and Cornele, and their Impression Is
encountered by an inflated style-They are poor
plastercsste from the living maroie-ln tnese
dramss the grandeur Of Rachel always shows her
superiority 70 the French rendering IL was the
grave character Of the old tragedians that we
saw Racine and Corneie only came In for curses
at their stalking rhymes. Every body on the
scene except Rachel, was absurd.
But perfect was her presentation oil these aW
full forms-they are always too remote from our
sympathy. They are like masks OF Tragedy-are
onlv avful expressions-with none OF the eVanes-
cent heat lightning OF changing passion auu eH''
ton that is the actual charm oil me- rc.,.r
u
nlav-was a great gain upon this. Scrbes "Ad.
r;enne Decourreus" a kind of tragic Vaudeville oil
costume, was a much greater, but Angelo seems
the greatest OF all u.u
cstas,ropbe results from the natural development
NJ character In AdrieDne it is the result OF crime,
and is not at all necessary.
In fact the catastrophe of "Adrienne" is intro
duced expressly to give the actress an opportunity
of diving by poison IL is the most hauowlngly
tha stage has ever offered. The
sbrieks and spasms and despair Of the victim, who
dies 40 horribly in the very hour OF her happiness
are much too real. This is fatal fault OF the WORK.
The simple catastrophe occupies almost an entire
act and effectually any doubt as to French
reluctance to see actual physical agony upon the
stase So to saw "Adrienne" is great physical
triumph Of Rachel. 49,,
Tbisbe is an Italian courtesan splendid and pas
sionate, loving intensely and only young outcast
nobleman who loves another lady. Thisbe dlscov-
ers the passion and the object but, in the midst OF
her access Of revengeiu despair finds that the LADY
in one who once saved her mother, ana whom sne
in sworn to serve with her whole lie ana soul she
could find her The ladys husband Is also lover
nj Tbisbe's He discovers the iaison oil his wife
and the nobeman. He denounces her to death,
and she is saved by Thisbe, who restores her TO
her lover at the very moment In which ne mas
stabbed Thsbe as being privy to the lady's death.
Tho scene ia laid in Padua, under the Venetian
reign.
made tragedy, written originally for Madame De
Mars, which develops in Rachel all the passion OF
love aud despair, and sense OF duty-si, the sP'eh
dor of a taste gorgeous without parallel and as
true; so hat if she clothed herself in rainbow
she would not be gaudiy attired and, in fact, all
that ia most various and admirable in her genius
No ideal Of Judith, no Lucrezia Borgla, Is SO ter
r;ble snd beautiful as Rachel in Thsbe. Every
look and motion and position is exquisitely just and
graceful and beautiful. wo! am at the end OF
my sheet. o. VIC