New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-11-27

1epts. and reproaches and rails-5ut when does Il
chandler down into the soul and shatter all senti-
mentality, as pure Passion necessarily must
Q Then too, Italian music is monotonous. There
is. after all, excepting Rossinis buHa, out one
Italian school The masters not essentially
different They all see life from the same point
of view. One work Of Doaizetti, or Bellini' or
Verdi, OF Mercadante--if so poor composer in"9
be admitted to such sociesy--ls the e'no y -.
other. We hear the same thing IN ANe'e,'''
we heard ia Lucia The same IN !'2'"'S 49,
had IA the Seyanans5uZa althoughit may DC se' W
very different words There Ii 40 S''u4''o''
,t;. ,,,gic II is all tender or trIhiag' except
Bossini's, who owes, however an HeAPcesSioie
sah, 70 ,be national songs OF Italy
g. inch was necessary to say in order to ex
~ i,directlv, the character of Jenny Lind's
singing. She sings the simple sentiment OF the
nsic cutie irrespective of the associations in the
theme of the opera, and entirely scornful of any
conventional standard of proper style In Cast0
Dsra we have represented the priestess and the
woman II is not the yoluptuous and Venetian
Lucrezta Borgia with sickle in her hand, or love
lorn Luciu 10 the woods. The moon breathes
peace into her servants SOUL and in the prayer
there is solemnity and tender tranquility which
we do not recall in any other artist.
SO true was Jenny Lind's treatment OF this
that we seemed for the first time to feel the luli
meaning Of the song. We do not hesitate to say,
that she illustrated it beyond the idea OF the au
hor-as fine painter takes hint from pen
inc, and leaves perfect picture upon the page
II was what the C0SkG DiUa should be. 1t was
finer and more artistic than Adelaide Kembles
endering-which although we cherish it among
he pleasantest musical memories, was not so
primitive and moon-innuenccd as this There was
only the trace of one greathuma emotion in Jen-
nv Linds, which appeared in the joyful intensity
Of invitation in the Allegro. Then the Priestess
was woman again cntirely--yct not roman
Donna, nor Neapolitan fisher. girl, Vene-
tian ladv of luxurious love-but fall Of the forest,
the sky and the stars-stiil and always Drudess.
This same individuality and artistic perception o.
character was remarkable in the a. Care C0mpag
ne, from the Somnambula-in the " Qn' IN coce, >
from the Pu,itaai-in the Edgardo,' from Lucia
in all the i" Fule du Regdmenl' and g EAS"
d'lmoyc music, and generally in all that she sang
from these Masters
Like true artist in singing these songs Jenny
Lind regarded the essential character of the mu-
sic and the prophecies of the Concert room Yet,
whoever carefully followed her singing, could not
fail to feel the tranquil truth OF her intcrpreta-
tons.
The same is true Of her sacred singing. But 1t
was impossible not to feel in all she did, her sp-
periorty and separation from what she was do
ing without which there can be no dramatic ar
tstic success Jenny Lind was distinctly her
self in the Messiah as in the File du Regtmeat
The Identification Of the artists self with the char
aeter he represents, is a crude conception oil any
art The success of Painting is not the exact I'M
itation Of nature, in which Teniers surpassed RIA
phael-nors deception the final success OF acting.
When we go to the play do not expect to see
the individual Norma Hamlet, Tor an lhVoi1n-
tary consciousness goes with us that it is mPossi-
bic The moment that we see life, or an exact
imitation Of Gfe that instant the artistic enjoy
ment which we are seeking disappears, ana we
are subject TO the real emotions which are neon
patibe with n,+ o;o>yment If we could b
MaM truly deceived into funcylng that we ot
held the actual sorrows and tragedies OF LII
s$ crezia or Lucia we could not endure 1t pa
81 siently and certainly would no more seek it al
recreation than we should visit Bcdlam and
Bridewel for the same purpose. Hence, Goethe
saws in critcising the LAGOON, that the prom
nent impression of any work OF art must be pleas
ant This is one of the essential requirements OF
art, and is again most iorcbly illustrated by
Rachel throughout whose performance the spec
tator has the utmost and purest artistic enjoy
ment because there is no attempt TO caioe hin
into belief that he beholds reality. This crude
conception is practically criticised in Madam,
Tussauds exhibition in London where there i
collection of colored etigies of tamou
people with real hair and characteristic clothes
You are deceived, certainly, and perhaps, lk
the present critic, deceived to that degree tina
you address observations to neighbor upon tin
bench, who turns out to he painted Mr.. Cobbett
But although the triumph Of exact imitation i
perfect you do not have that pure and Legitimate
pleasure in art which the colorless Antnous
Apollo and Venus afford you.
The confirmation of this idea at which we onl,
hint is another jewel in Jenny Lind's crown o
praise But we must respect the limits of pape
and patience, and hurry along to the end
Ifany "friend orlover lends US his ear this morn
ing he is now probably making one or all Of three
mistakes: He declares that this critic does no
like or appreciate Italian music; or, that he doe
not admit any essential difference between North
ern or Southern natures; or, that he is entirel,
700 indscriminate in supposing that because a.
artist does one thing well he does everything
well,
But we do love Italian music with the inevita
bic and approaching love of one who has summed
his soul year long in ltaly-nnd it is because VT
feel throughit the truth of its origin, that we do
wish TO injure delight by claim too broad
The sadness and sunniness and sensuousness o
Italy eing in its song. Its fiery hate its deadl!
despair we do not hear there, II you will, thu
burning soul of the artist makes his hand unsteady
-.. 49,. L. nna,nnt drn,y the nntline deenly an