The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1850-11-08
The Second Appearance OF ParodI at the
Astor Place Opera House.

Last night the Opera House was crowded The audi
consisted Of the most fashionable brilliant aud
tasteful persons In the metropolis and the costumes
shone lutrousy both inhe parquette and box circles
Parodis presence In the first act the signal for
breathl.. silence. II reigned completely She was
heard and never before in this country ct least have
such effects been produced by the Interpretation Of
Bellinis music a. he wrote II. The recitative was
passionate and dramatic reading Of the EJr,o, given
with cleaners force and expres,iveness unsurpassed
we dare to say in the history Of the lyric stage true
artistic may be known her execution Of rectative We
have heard many vocalists fs-have seldom known one
TO succeed Usually vocal talents are lavshsd meo-
dies snd the level dramatic vocslisstOn is neglected
Parodi does not slight this portion Of operas She
does not make her rectativss the tedious introdue
tions to melodies framed TO catch the ear She con.
,rols charms and inspires with her dramatic energy
and speaks through music to the heart In these i'm
portant passages Here she is beyond the great popu.
IA, lar TDca 2, 1Sr moon her sa sne cane 10
csrafna the opening melody Of the opera struck
out with the exception Of single notes.-the orchestra
tended IL should be Here, expression the soul OF all
art, was brought into requistion. The sarge in
f,rran tricklsd with the fulnsss OF blessings. In
perfect shower Of sweet sounds and the goddess Of
good taste bowed in acknowledgment Of the simple
Interpretation Of genius through the Industrious
the great scena concluded II gave US the dauenso
and crescendo, not merely AZ an accomplishment Of
the vocal art thrown In TO astonish but in harm on
with the scene closing the whole by OF the mest
appropriate ornaments ever yet introduced Ia work
out the design Of composer The all hall here
tuch design Of genius-for Bellin never contem.
plated 30 vast an expression Of his idea.
In the second act--at least second a. divided at
the Astor Place--the third scene. we think Of the
opsra-Psf6di rose to sublime height II wa. not
her acting aone-sreat as that Is that elevated her
It was the depth delicaey and force with witch she
seized the music and converted " hte families
PRECISION. We cannot separate the two arts which
Parodf blends Our critici.m IL not the angular
prism to attempt any such philosophical investiga
tmid perns attribute all the effect che produced
to acting We stribute them neither 30 the acting
nor 10 the vocaization but beth prob tbly
TO the coDsummate genius that untes all arts Ia n
harmonious unity az once beyond com parson or ca vii
In this great where her face was lighted
with Joy, carkened with doubt. and made old by De.
spsr the OF Polio changed tde dful EXPIRES
siobt TO those OF rage and then came that feedu
storm OF reproschss which was repeated with witner
ing snect We have not space TO 90 Justice 10 the
terrible termination OF the scene 10 triumph
that Language " too weak ts describe. IL can onv
speak adequately BY being sgaia presented BY Pared
bsrfef
The scene in Norm, = apartment with the chilirsn
carried on the grand spectaels In thi, Norma aud
hdseils ssnd on equal ground both ia the music
and In the drama IL was admirably executed BIZ
Amalia Patti and Psrodi AMI the duet vas msxnid.
cent piece e vocalizatton. The zane qualities
exhibited by paoci se In the former snd she
trial which occurs in the final Here shs b.
came the mott stonisbiDr wonder Of the lyric
stage Her voice her executi0a. her expression.
her rstho. her despair her joy alternating bsween
force that rank her IN the highest position vo-
ealht Nothing could esce.d III. b.satifu and va
ried charm of her style when she hs 4 resolved 10
perth BY th. Hsmes-rhen she kissed the wreath o.