The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1850-11-02

The STAR OF IrALY-PARoDI, THx MAaSFI-
cENT.-Next Monday night, at the Astor Place
Opera House, Parodi will appear for the first time
In this country. She has selected the character OF
Norma for her dtuJt. This is good choice. Her
magnificent style-her impassioned acting-her
deep, strong voice, will shine in the great scenes
of Beliini's most powerful opera, and she will rise,
at once, into the same position of rivalry here as
she did in London, when she and Jenny Lind were
siseing at her Majesy's Theatre.
The history of Parodis trumphs ID well known.
When Costa, the director, quarrelled with Lumley
of Her Majesty's Theatre, and went into Covent
Garden, under the encouragement of the Queen,
and with the money Of Beale, and of Delafeld-
who was made bankrupt by the speculation
Lumley found that he was deserted by all his old
company, including Grisi and Mario. Casting
about for talent he found Jenny Lind, who,
breaking her engagement with Bum, OF Dmry
Lane, paid the penalty, and carried Her
Majesty's Theatre through for the first season
of opposition. Lumley, then, with his usual
sagacty, secured the contnet for the greatest dra.
matte singer He engaged Parodi, and she was
Immediately brought into rivalry with Jenny Lind.
The latter had proved very successful, but the
presence Of the former, in the highest lyric crea-
tons, soon established their relative POSITIONS Pa
rodi became the high priestess Of the art. She it
was that stood forth the embodiment of Norma,
Medea, and those grand roles, (which had only
been filled by Pasta or Grisi, while Jenny Lind
Ape AIRED in the characters of the melo-dramatic
opera, such as the "Fille da Regiment" "Elisir
d. Amore," and the like, formerly made brilliant
by Persiani. Both were popular in their peculiar
styles. PaIodi, by her majestic style, 'subduad,
controlled, and aroused the heart; Jenny Lind
startled, delighted, and stirred the fancy. The
one was to music what Byron is to poetry. The
other had the sporttvsness and lightness of Moore,
with, perhaps, less of the deep feeling that some
times pervades the compositions of the Irish bard
Parodi scared or made swoop like an eagle; Jenny
Lind had the wing and the voice of the nightingale.
They were friends TO each other in their contests
for public favor but in the public eye, there was
the same rivalry that is here to be renewed. OF
course, we may expect the same results. We
know that Parodi sustained herself as a dramatic
vocalist Of the first order, while Jenny Linds posi-
ton in the concert room makes her chief in that
department, where she has never to conquer the
great difficulties of entire role comprising all shades
and degrees of vocalization.
The advent, then, of Parod will be one of strong
interest to the public. More generous than Bar
mum, and not so graspng after money, Maretzek has
put the price of tickets at very reasonable rate
two dollars, ortwo dollars and half-and power
full current of curiosity will sweep towards the Opera
House TO decide upon the comparative pleasure to
be derived from these greatrval vocalists. Parodi
has magnificent figure, voice Of marvellous
freshness and power, face intensely expressive of
every emotion of the soul, eyes of bewitching
blue-black in the shadow-hair of raven black
ness, and temperament warm, glowing, and i'm
pressive as the climate of the sunny south of
Italy She will interpret the music of her coun-
try as Jenny Lind does that of the colder Scandi-
navsn region, and we shall be able to contrast
the two styles admirably, while each strives to ex-
Gel the other in the presence of curious and ex-
cited public.