New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-11-06
Jenny Lind,

pleasant to see, that the audience last evening
was larger and more brilliant than at any OF the
former concerts in Trpler Hall, and the applause
was more sympathetic and discriminating, than
weremember it. For now we are becoming acclI-
mated to these racy nights of song, the audience
that hears Jenny Lind night after night, is uncon-
sciousy much better able to enjoy the hnest nu-
sic and the most artistic delivery even though the
individuals OF the audience are quite UNCONSCIOUS
Of it, and even though they do not own allegiance
TO Jenny. The eye fed upon Claudes sunset or
Turner's grows singUlsrly fastidious in its de-
mand and all other artists must look well to their
laurels So when we have become somewhat
more accustomed to this singing, which was mQ-
steal revelation to our small education and expert
ence, we cannot SO willingly return to our old
Idols They must shed their glass eyes and as
sumo diamonds. And this is the great musical SER
vice of Jenny Lind. She has carried us up to Pts
gah nights and we have seen at least part of the
promised land, stretching away green and golden,
to which all the powers and yearnings of Music
point.
Hence the extravaganza Of the first criticisms
upon Jenny Lind was merely the sudden splash
ing of men suddenly finding themselves in deeper
water than their wont, and the true and tried old
commonplaces Of corks and badders and what
soeyer other wind critics float by in shallow
water availed them no longer. And if musical
critics were not notedly and everywhere the most
prosaic and liberal of men, to whom poetry may
never be pardoned, as in them it is never sus-
pected, we should say that Jenny Lind kept US in
perpetual poetry of feeling, and IN our delrium
when the reader demanded q criticism of the
Concert, we should insist that in that fact lay the
best criticism. For art is most truly criticised in
the expression of the emotion it excites. Manip
ulation-the mechanism Of art is wonderful, like
the steam engine. But if you undertake to de-
scribe your voyage, we want a picture OF the
landscape you saw, not OF the machine that
moved you. If a critic pauses long to love and
linger around the means by which his emotion
was produced, you may conclude incontinently
that it was talent, and not genius, that was in
question.
Jenny Lind gave two new songs last evening,
and Duet OF Meyerbeers with Miss Pintard.-
The first novelty was Dore Sono, from Mozart's
Marriage ofFigaro, which Jenny Lind sang with
the same exquisite freshness that we uniformly
admire. Especially we noted in this aria how
true she is to the sentiment OF the music we'll
as to the Librcto and in spite of the Libreto, If,
as frequently with the Italians the music is not
aptly adapted. This shows most agreeobly the
essential muscality Of our artist. La mere
grand is one of the most melodious pecuarties
of unmelodious Meyerbecr 1t is the call Of
Grandmother to a Maiden to return for the night
is falling But the maid replies that it is calm
and safe and only the Nightingale sings Twice
she answers the call, and at last the Grandmother
hears love murmurs now, to which the Maiden
still replies as before, not feeling that it is less
calm or safe because Love sings with the Night
ingales This most Meyerbeerish OF romances, or
| ''Nocturne, it called, reminded US, in
many ways of the weird, nral, floating delcacy of
his file du Ptcheur." 1t is very beautiful, and
in the sudden sweep Of " Non mere grand, la NUT
EST close The perfect artist swept US all up
ward, away into the same rapture that always
waits upon the Bird song. This Duet was kind
of human bird song, and we prophecy for it per
manent place in the constellation of favorites.
Jenny Lind sang Also tS0n rergine ce=:0sa"
from Bellinis Puritani. She warbled this air eX
qusitely Every note fell ringingly true and seem,
ed only to continue the sparkling spirit Of the
Duet. Finally the public revealed in their old
Injuries, the Bird and Echo songs and departed
delighted.
Yet, without the fear of 1xon's fate before our
eyes, although we are thus admitted to the fairest
feasts of music in our experience, may we not
plead slight safety of sparkling sweet and long
for another strain On Sunday, Madame Anna
Bishop proved that a New-York audience will
actually encore song of Schuberts, the Agc
Marie, if well sung. Why should not Jenny Kind
give us something in this kind There are many,
and many of Schuberts songs which would be ex-
ceedingly popular, and which are unsurpassed in
! lyrical melody and character Or why not the
"Adelaide" of eethoven, that we may hear mu-
sic of more splendid and profound passionate
sweep than the whole range Of Italian opera or
SO many other things perfectly we'll known to all
musical people, and sure, from their essentially
melodious charm, to be popular At least this
is worth thought.
Signor clletti is uniformly good, but his scene
| of Deleamaro, with Perellis Nem0r.no, was admi.
rable for its comic spirit and skill. We observe
Joke Of Labaches occasionally in Belletti S
singing, an odd word in the vernacular OF the au-
dience which is amusing, and, when decately
done, very effective Signor Perelli sang the
" Come ,ugiodo, from Ernani in SO highly fin,
| ished and artistic manner that he elected the
warmest applause. We have not had the plea
sure of seeing Pere upon the stage, but we are
quite sure that he must be admirably effective
His style is very pure-and although he sings
now with a slight hardness and want Of laiSSer
aller ofhis voice, he is an accomplished artist and
worthy ally at these Concerts. Miss Pintard
sang also with care, and good knowledge of the
scope and resources of her voice, which is, how
ever ineffective in SO large a hall.
We have spoken at some length of this Con
cert. But Jenny does not lose her charm in the
slightest degree, and what deserves more than