New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-09-27

work.
Nov this we find in JEEEY LIED. shs can
mt use her trills and scales and ornaments, nef
mar. mecbancs! facilities, otherwise than tIssi'
oally. To her overmasteEing sense OF Beauty
it were suicidal to employ theSe arts 30 PurPoaeiy
"a to lat them stand cut of all connscslon IKE
mere vocal tricks. We have heard-is said thar
very long sriIl, such as she gives in her sing
ing.Leeson Duett, or at the close OF el@0H1o
zascai la Normandia, is not artistic IL may
be keeping on the safe side to avoid 1t a.
general rule; but we must shnk' @ssf
hearing Jenny Lind in the Aforesaid srllls, tnas
there ia more Of the conventionAlity than OF the
vitality OF taste In such criticism One main IN
gredient in her charm has bsen that she employs
these things only In places which will bear snem
abe il faithful in the east thing to the law Of
ftneaa. We have heard such vocal feats Wnen
they were mere gymnastics and have Slckeneo Vi
them; but az we have Witnessed shem In nef'
nothing could have ever moved Oh to inquire Ii they
were genuine, but the professional oewliderlng
criticisms which we read and hear Her orna
ments. fioyituYe cadenzas, &c. are always hily
introduced and perfectly symmetrical and charao
kerlRnC II kDGmpolfSb' AMY 6AS''
Of the subject melody, and are not colby sacKeo on
like extraneous trinkets. 1t must be considered
that the pieces she has sung have been almost ana
entirely thus far either brsvdfas or iofld comic
Duets from the Italian Opera, or graceful musical
conceits expressly written for her volse, IKE the
Echo Trio with two flutes, or limitations OF nature
mot very high department OF Art IKE sne
"swedish Herdsman's Song" though this last We
do like 90 a truly fresh and genuine melody
Ornament in all these things was IN place, though
another singer might not find it quite 30 safe to as
tempt it. Tho style which could make all shls
e1uberance agreeable and orthodox, is OF course
equally apparent in her most plain and simple
readings. One Of our contemporaries, whoae cflsl-
cipm of this singer is at variance with our own IN
preston in some respects, has noticed one great
point of atyle in her with delicate appreciation.
"she knows, OF rather feels, that nothing mono.
tonous can be beautiful in art, and her voice Ia
ever unduletipg into forms Of exquisite beauty
She never by any chance gives one note with the
asme force as the last, bus always with greater or
less and with graduation SO artful and 30 wen
balanced that the ear is filed with constant nse
OF grace In the same way sustained note 10
never held by her for an instant, az apP'eclaole
lpnse of time without either increasing or dim,n'
ishiDg the volume Of her voice.
This praise requires no qualification, and to ap.
preciate it one has only TO compare the ceaaeless
vauish or cresceudo Of Jenny Lind's tone with the
prolonged, unmitigated orgen.pipe intenAity Of
some bawlipg tenor in country choir, who mea-
sures cut dead Lengths of sound for every no;e'
without any beat of rhythm or any sign OF lie be-
tween it's beginning snd its end
4. Style, however, must be alsO individual aid
be1ce it is 40 often criticised with reference TO
expression, feeling, pasaion. We by no means
trust our ability to characterize or anAlyse the ma-
sicsl individuality named jenny LIND Sheseems
to Us TO have the oulopassion, rather than shetsm
permanent OF passion. The passion in her without
which there could be 10 genius) lies deep. 1t is
not On the ,ulfhce and in the manner and like ir-
rithble nerves, pleading with all possible patbos
upon every small occasion. 1t is not senBuous
paaaion such IS excites and thrills the easy aenai-
bities of The exclusive lovers Of Italian Opera,
and nurses that delicious languor which degene-
rates with every repetition. Every Italian Opera
ia inspired mainly by one passion, chat OF sexual
love- and hence the sweet sadness, which it has
led many persons to associate yth the very thought
of music The Swedish singer has not commonly
choaen that mulic, and therefore has not sung us
into melancholy. Where she has cho8an it, az in
the romanza from Robert lie Diable-and, as We
doubt not in her whole part of Alice, or AgAthain
Dor Freyschait1, ahe has proved pathetic.
But she has the Northern strength AM depth OF
intellect abe has the spiritual rather than the sen.
suous form of passion. And yet her music is NOS
any cold abstraction. Like true artist, she re-
speota the aeDaeB, and with rapture hears and
translates Nature in her song. The echo OF her
mountain home is in her melody. She has Gre
alive imagination, genius. Like shakespere's po-
etry her song ia vital in whatever theme or char
acter She vocalizes all experiences as the great
German composers reproduce all they know ofman
and nature in their instrumental symphonies, so
natas and fantasias. Kshe is not always thrilling
or pathetic, it is because her geDiuE cannot all tho
time be ayging one intense monosonous PERSONAL
ty. Neither The Norma, nor ths St. Cecilia can be
properly set up the sole types and ideals of aong
Song may be mary sided universal genial and i'm,
personal as shakspere, We do not ask 1t to ba
all the time impaSsioned; we only AJAX that 1t be
rita that it have soul and genius in IT, and that 1t
be not merely learned by zote.
1t is curious to notice who they are who bring toe
complaint Of coldneas againHt Jenny Linds singing
Most Of them are persons who swesr by Donizesa
and elllni, and who consider Ito speak a Ia Car
lyle that the "rose pink sentiment of sheir opsras
10 Infinitely more indicative OF soul and geniua than
the grandeat symphony Of Beethoven, or the aaesl
overture or sopg Of Mendeasohn,
Equally curious has it been to notice that the
codly critical and less enthusiastic ofihe diettaHt,
are frequently the ones who AJAX to feel more
warmth and passion il the music Of the Nightingale
The warmer amateurs hnd her tonea reach the
light spot in them. Ia it that each nearer needs
the complement and Offset of himaefl Bat why
AJAX to be thrilled and moved to tears by music =
Restbovan aid uTrue music does not draw tears,