The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1850-09-14
Jenny Iind's second Concert at Castle
Garden-Contin ustion OF Pablo EHth"-

place at Castle Garden. During the Gay, there was
even more excitement in the pablo mind, and more
nlioatons for tickets than on the day OF the u's'
concert. By eight O'Clock, the vast area of Cast
G al len was completely filled, and every enc 10
mad, on the part of the manas cment, to ri;r ss
satisfaction to the immense mass asserr' Ps.'''
the great eantatrce Not less t. '0 hea.
r.r.ons we're nrssant an Hs thousand
swayed to and fro sparklip~ ~" sea OF hesa'
in the ornament OF seene"'h .ne ''A''y nsuss
spripkled with tn" ,ensi mere ana 'hefe 'h''AS
ING the Anh,o- steafn of beauty, snxously expect.
while the >af.S II music to rise amid the waves,
In a. S+iins, with their horns and scnorous shells,
.~sTarb groups, hung around the scene imms-
s.fey to We graced by her advent The Introductory
music Having been performed she appeared, while
every wave Of humanity trembled with excitement,
and the great hesved with delight and clapped
It's hands for joy" The goddess Of the people stood be-
fore them.
We have now to chronicle the effect Of Jenny Lind's
vocal efforts and If possible consider more closely
have done, the quality of her talents
the first tempest Of public excitement has passed. ana
that she IL fairly entitled to just estimate OF her
abilities and sceomp lshments as vocalist Though
Ndlle Lind was set down for TIE and sarotird
from Norma she sang OILY the latter, commencing
| with Ca.ta Diyar-that invocation to the moon,
halowed by the SEPARATION of Bellini, and consecrat
ed 10 the vocal art by Gris yiardot Adelaide Kemble
and others eminent in the realm Of song The last few
Of the andens movement in which the soft trill
Of Jenny Lind's fcriue captured the ear, were
triumphanty beautiful while she escaped the diff
Guilty striking the low notes of the original score
upon which the genius Of the composer evidently
grounded his hope of touching the human SOUL and in
which Pasta Grisi could strike chord to affect
the most Indifferent bosom. In the sAegrO move
nent the great vocalist more brilliant, but not
more satisfactory because in ndpg she shifted her
register thereby changing the quality Of her notes and
producing unpleasant harshness to cultivated or
naturally fine without the ornate embellishments
which fersianis high voice lavishly bestowed on
similar passages Of song there the voiubty with
out the brancy-thee mbition Without the effect Yet
with all this there the most subtle ingenuity to
conceal the weakness by display of the assumed
| power; and in this alone consisted that charming
unity method which By any but the most critical
judgment would be deemed the perfection of musical
vocalization.
The duei.o from II Turco in Italia could never be
| mistaken the work Of any composer except the
brilliant Rossipi The chromatic scale comes into
play, in this composition, from beginning to end.
The passages could not be inef ,ctive even though
cumsily executed-yet IL is not composition in which
Jenny Lind shine. If it exhibits, here and there,
the remarkable and unspproachabe excellence OF her
upper notes il less exposes certain little decien
enthusiasm cannot deprive Of their sharpness Grant
ing, must, that the vocalist takes the ear by
storm, thrills the most obtuse the most delicate
organ Of hearing with astonishing effects; yet
the generous impulses Of the soul cannot be aroused
by such marvellous efforts 1t is the spectacle of song
that stsftles us. 1t demands aud commands our at
| ttntion-but the heart does not vibrate with the
sspen-like tenstiveness of the ear. This at least
seems TO us to give fair representation Of the true
effect Of the vocal efforts In the first part of the con-
cert, and which may be deemed most closely and
ver,ly TO challenge the scumen OF the cold and cal
| lous critic.
OF Jenny Linds effects in the second part OF her
! concert, may say more that may accord with the
general impressions produced by her remarkable
powers. In the new song composed by M. Benedict
whom we have Ions esteemed one Of the most bril-
liant melody writers Of this agsthe grace, notes aud
tris OF Jenny Lind alone command extraordinary
praise. These, certainly, vocalist Of renown
now living can surpass 1t Ia In the soft trill
or the high notes In which the Swedish Night
ingale surpasses all of her contemporaries. There
Is no one who can approach her in this great accom-
rlshme Mt and Ia the natural shake, which Is mimi
tably perfect she has rival One cannot fail to
member with the most copsum mate satisfaction, the
delicious beauty Of those suppressed yet rapid pas
those flowers OF ornamental vocalization-which
captiyates the sense and establish themselves, a
deeply rooted in the garden of the memory. Here 10
charm the wondrou power Of this vocalist upon the
suditor Here Is tina, the voice OF Northern urope
contests fer the palm with the delicious feeling
and soul-like energy which characterize the tones
and ptterauce Of the SUMMER South The voice that
could produce the Herdsman's Song never could
| be FED anything warmer than cold air. II
could be clearly and so purely brought out with
bell like precision, except upon the re hnement which
nature tself has instituted Art may approach such
n triumph but It may not equal II. There IL ss much
difference between the reality and the imitation,
| between pure diamonds and the Paris Likeness of
them. Hence it is for this extraordinary fact tina.
Jenny Lind will become the most popular vocalist
that has visited this country Her organisation Is
suited please the people of cold climate She will
have iriumphs here that would attend her pro-
gress through France Italy. Hor last two songs
the Swedish melody are the eoneeidn,s with two flutes
mastery In their way from the fact just stated
They viii oaF;ivste sstound delight, snd make hun
dreds OF thou,ands crave for such wonderful exhibit
tons Of skill In this estimate then OF her qualities
We may up the whole story Of the vocalists
/ power In few words. She Is a great musical pho
nomsnon- shO has individuality In her must.
cal character that places her apart aud above
most OF her contemporaries. II che does not DO
| some tlirFs well others, che does that
| which other vocalist can do No one exceed
her greatness in tie sweetness OF vocazstion on
the upper notes She eau sofy sttune her will to the
notes d, T. Z, IN sio ether singer and while
The has the power % control th-e she viii remain dis
tirruished In the r,u'iosl world aiists OF sur
passing bfillHncy. At come future time, may
ter upon topics connected with theponts named
in this hurried survey Of the peculiar qualities OF
Jenny Lind particularly with regard 20 the propriey
Of euvatipg the voice In the higher notes after the
modern Itais fashion and Of com osDg music suited
| to such artificial voeslirAtion.
The singing Of Belletti, last night, very agree
able lie has a 6ne ierfions voice, sweet though not
\ powerful, and, with the exception Of one or two
/ throay notes, worthy Of public admiration His
| thcd Il sIeellsnt Tae orchestra nearly smothervd
| him, however, in Largo al Factotum.n We shall