New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-11-12
Parodi,s LucrozSa.

Par0dps Lucr9z6a.
Phrodi's Lucre1io last evening most oril-
liant success. A full and fashionable houge were
enthusiastic ii her favor, and at the close OF the
second act in the scene with the Duke and Gen
marc she excited an electrical burst of applause
that continued until she had twice appeared be-
fore the curtain II was decided improvement
upon the Norma and weheard expressions OF de-
light and comparisons last evening that to tran.
scribe would send glow quite through our article.
Lucre-ia is character admirably adapted to
Parodi's peculiar power 1t is drawn by the com.
poser in such broad, bold outine-is so dashed in
with few strong and skillful strokes-that, re.
Wondering what we have already said Of her, it
will be seen how effectively she might interpret
the part. A. character OF such pure passion as
Lucrezia is intended to be, allows every variety
of expression. Intense or tempestuous, the stu
dent of life and art will still recognise the fea-
lures true to life, feeling that Passion in general
like that Of Love in particular, permits no laws to
be laid down for it and no principles to govern its
expression. Parodi's style of passionate express
sion as we have suggested before, is the vehe
uent rather than the intense. But it would be
difficult to say that at any point last evening she
overdid herpar so wild is the whirlpool ofhatred
and despair which the music means to represent
and which the image Of the hateful and beautiful
Borgia constantly suggests to the mind. Parodi
looks Lucrezia we'll When she first unmasks
there is an expression of deeply-gravcn expert
ence upon her countenance which accords with
our anticipatons and in the last scene, when the
brilliant curt ain draws aside she stands tatctul-
an image OF Death and Wo.
The performance last evening although itpleas
ed us so much more than the Norma, confirmed
the impression which that gave US We find still
the same large manner, the same decided drama
tic points An effectiveness of posture rather
than Of movement, and general tendency to ex
travagance. The eliminating point of the opera
was to our fancy, the closing scene of the second
act The artist showed the ferceness of eager
ness rather than the mingled fevor of frightened
feeling and despair-but she carried her audience
with her, and the curtain fell upon applause as
prolonged and sincere as we remember in New
York. Parod lacks tenderness The Com e BEL
10 in the first scene with Geunaro and the dying
scene in the last act, were h0rd(y done. The
despairing Duchess should have melted somewhat
in the mother The action OF the artist and the
musical style should thrill with a strain OF sen
timent that in deepening the broader lines of the
character, our artist omits Did we not observe,
too, nervousness about her dress, both in this
opera and in Norma. and appeal to the audi
ence during the singing of the intcnsest parts,
which materially and unpeasanty affect the dra-
matte effect
She was good. too, with the young Venetans
H. To-. oct Ila,-opoa sod tself in sor.
donic scorp and throughout this scene we were
reminded of the traditions of Pasta's manner
which as we saw in its decline, was grand and
beautiful. But we were sorryto hear Parodi fairly
emuloting Lorn during their first duet in sing
ing false This passed away somewhat, as the
Opera advanced and we viii hope as the season
advances will disappear altogether. The curtain
fell upon triumph, and Parodi was again recall,
ed to respond to the great satisfaction of the alt
dience
Siguor Bencyentano was good as the Duke
In the poisoning scene in the second act he hit
strongly the proud points OF the Venetian noble
Signora PATHS Ofsj2a had all the graceful shy
ness of girl, and her unaccustomed costume evi
IDENTITY subdued, and therein benefited her repre-
sontation She snng II Se9reto carefully and
well, and was warmly applauded. Signor Iorini
was amentably fasc-or hoarse. The chorusses
were not precise enough but that is the fault of
first evening
We shall be lauch mistaken il Parodi does not
win greener laurcls in this part and III all charac.
ters Of strong outline, rather than in those of
more various aud delicate charms. 1t will be al
ways outline, however, for she has not that skill
of subtle shading OF character which is express
ed by more mobile countenance than hers, aud
which is essential to the beautiful balance of the
highest artistic representation.