New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-11-11
Jenny Limbs Twenry.afth Concert.

The programme for Saturday evening included
three choruses by the I.iederkranz, society Of
German amateurs a duet from La FJgla, sad
aSwedish melody, the Mountaincers Song, as
the novel features Praise is a thing of nough.
IN these Concerts Except in certain details
there can be little to wish altered. for, whatever
KIND OF merit is allowed to Jenny Lind 1t is uni
yersay conceded that what she does in her OWN
kind IS not to be surpassed
| OF general audience it struck US that the
programme was little heavy. Two choruses
most admirable and individual in themselves, snd
rendered with great skill by the gentlemen of tbe
Llederkranz one from Beethoven F;daI;o and
the other from Nebcr's Euryanthe. were sons
what monotonous. In the frst OF the two tho
mass OF sound was not so effectively shaded :
might have been. But the krlegeliea IN the sec.
part, sung by the same society was given with
great spirit and almost provoked an encore.
Signor Belletti was never in better voice We
are more and more pleased with the extreme ell
egance of his style aud the richness of his voice.
1t has at times the slightest shade of nasality to
which all baritones are subject but its true tone,
its funess. its hexibility and sweetness, man
aged as they are with the finished ease OF sci
entfc skill place him among the first musical
artists Of the time He sang the Sorgefe, from
Ressini's Maometto Secondo with admirable
taste, and the duet with Jenny Lind from La
Figla with the utmost spirit. " Z find in Bel
lett just instinct of the true feeling of the ulu-
sic, which is indispensable to fine singing,
Jenny Lind stepped our very souls in the senti.
ment of her first song GA Ia roct, from the
Puritani There is always something profound.
~ touching in her nien and manner when she
advances and stands before the audience at the
commencement of concert. 1t is nothing languid
norshrinking nor sentimental but quick, sharp
glancing Oft the eye about the hall, as if seeking
some other friendly eye, while the soul gradually
rises and sufuses all her face and form. like
deepening dawn. OF this song we seem but to
remember Ia rocc sua scare, a loye-wail OF ten
derentreaty, full of the suggestions and images
that belong to such songs To one finely follow
ing her with ear and eye, throughout her song it
cannot but appear an exquisite work OF art, aud
so much more than n simple song sad sen
timent
The Bird Song was, as usual cncorcd and re.
mains still the popular tayorite. We were glad
to hear Jenny in the sparkling music Of the FIG
ha del Reggiment0 1t was in this opera that
she achieved one of her most distinguished sue
cesses in London, aud it is clearly opera in
which her sunny archness and gaiety might lind
fall play. But of course it could be only play
with her. The music and action Of the opera
require only sparkling skill to fulfill their scope
and those who feel no more than this in Jenny
Lind, will naturally consider that to be her best
part She gave the duett beautifully. But it SO
implies and demands the prestige Of the stage
that so seeing it materially shades the pleasure
Indeed. we feel more and more poignantly the
entire inadequacy OF the Concert to give at all any
Just idea of the essential and peculiar powers OF
this artist II is kind OF Barmecde feast with
the delightful difference that We do really in our
hunger, get some slight SAVIOR of the possible ban.
quet That Jenny Lind is genius-as compe
tent and careful critics say, the only real genius
in herkind since Maibran-mpes, of course that
she would give us a new conception of opera
which could not be measured by our old IDEAS of
it. That hope, however, we must reliDqush, and
those Of us who cherish as an Invaluable remcm-
brance the character and effect Of her lyrical
drama cannot but feel how great she is, who IN
der these circumstances can utdW 10 ieI COiNcItS
crowds that delightedy feel her fame justified.
The last three songs Of the evening were purely
characteristic: the Taraatelia Of RoSsin sung
by Belletti and the MountaineerS Song, with
the Herdsmans Song, by Jenny Lind. The
pleasure in these songs IS very peculiar. They are
picturesque poeMs. The skill with which she sus
tains and dimnshes a note, or the yentriloqulal
effect of the echo are not mere feats OF vocal
gymnast They are artistic aids to the effect OF
the song AS works of art, and like all other
works Of art they are addressed in great measure
to the imagination, and to complain that man
gives his Imagination play, and then calls what
his Imagination hears and sees the elect OF the
sons-to say this as any complaint OF the critic
is to complain that ire produces heat, These
Swedish songs, so far as we have heard them are
effective They are fail Of suggestion OF external
nature, not of emotion, and only excite emotion
indirectly, as a painting OF n landscape does, oy
presenting to the eye certain forms that have
special interests and associations in the mind
They appeal to the Imagination and stimulate /.
and this they do by means OF the utmost skill in
their delivery You are forced to let your imasi-
nation play, and il you have none, you cannot
speak of the songs You can then only criticize
the character of the sounds the artist produces,
and the manner in which they produced
Such criticism is the pottcrs view Of a Greek
vase and its sculptures.
In the Mountaineers song there is one S1s'
tanned note dying away by thirds, which is beyond
anything we have yet had in that kind. 1t struck
the audience electrically into that flushed mur'
nurousness ofdelight which exploded at It's close
in burst of applause. Nor must we forget tho
o}Iegr0 Of g Non pareatar, from the Magic Flute,
which was given by the artist in sparkling shocks
of sound. magnificent feu.dejoie that excited al
the enthusiasm OF the audience
srnl.cr1nS AND PRoRAEEE " RDER-A young