New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-10-28
Kenny Lind Again.


concerts merits every commentator, and although
on Friday evening places on the floor could be Sc
cured, there was not the slightest confusion IN
seating the audience, and the ensemble was as
brilliant as the character ofthe occasion demanfeo
For a Concert of Jenny Lind's is not an Ordinary
affair, and the repetition OF Frlday anoros u'
an opportunity of which we gladly avali ourselves
to illustrate with some care the truth OF the doc-
trine of Thursdays article. 1T Is a peculiar
pleasure to linger among the details OF concert
so admirable in every way as thls-a pleasure
akin to that of studying into picture and detect
ing deeper and more delicate beauty with every
careful glance and through all and in all the unity
which is the protoundest character of great works
of art.
The opening overture-the festival overture of
Benedict-was balanced and scholarly produc
ton, and admirably performed by the orchestra.
Mr. Benedict is clearly an accomplished student,
of the most classical German school. There were
phrases in bis work not unlike Mendessohn.
There was grace and propriety in the general
movement, and skillful knowledge of the means
of the orchestra for the desired effect which IN
dicated the most careful and thorough training.
Without being a work of originality or power, the
overture was Just the music to be expected from
the composer; and we are sure we speak more
chan an Individual opinion when we express our
satisfaction and pleasure that Mr.. Barnum has
permanently secured director who is 80 much;a
scholar and gentleman that he lends classic aid
to every concert. Belletti then gave 80 Egtto
la SUI lida," one Of Verdis characteristic arias
from the Nabuco, with admirable breadth and eff
feet. Yet he was much more at home in the
{" Dfaca Rdmpolli," from Rossnis Cene1enl0to, for
Bellotti's best talent is his bufo. He is essential
ly dashing singer, and better sing
the Characteristic popular music OF Italy, the Neo.
politan barcaroles and songs from the opera buffa
The pro peccatls,' from Rossini's Stabat Mater
although rendered with accurate artistic care,
failed to secure the apprecatvc sympathy OF the
audience, which certainly was no fault of the COM
poser or of the singer.
Jenny Lind first sang the recitative and aria
from Der FaeaSchatz-and happily and properly IN
German, the language Of tho original hbretto.
This ia one of her most famous scenes, and certain
ly one of the most perfect artistic performances
we have ever enjoyed We followed this scene
carefully line by line and felt with every word
the profound conception and consummate skill of
body of the operator it is a lyrical monooguet-
and in it's selection for concert our singer gave
only another proof of that instructive sense
of propriety in the large meaning of the word
which is an infalible indication OF the artist The
musing mingling of tender revere, of the fearful
sense of natural beauty, of religious duplication
and the yearning hope and doubt OF affection,
were rendered with that tender tranquility which
would naturally be the character gifts expression
The sudden change then, from the vagueness OF
blended sentiment to the intense sense OF person
atty the dreaming maiden at the window awak-
enlng into the loving woman awaiting and perceiv-
ing her lover, was exquisitely interpreted 1t
was SO natural, true, scornfu OF our presence
as an audience, so untheatrcal void Of attemp
aA 90 increase effect by an exaggerated coloring o
I'M contrast, yet hued 30 humanity that it was hig
" happiness to hear DO we sufficiently perceive ant
enjoy the dignity of mien and manner of this art
aus 40 we see that she honors art, and nature
Riueh to cringe TO our applause
frg = sho Essential cha.
1a0rel "a'"g win by asingle
misplaced and irrelevant ornament heartier ap.
probation She could always retire in tumult
of appause if she chose to shake slide out of
every song as most singers do, fearful of silence
succeeding, In these days, when exaggeraton
disputes with excellence the palm of our adnira'
ton, il is an inexpressibe satisfaction to find en-
artist who will carve the Venus without putting
rings in her ears and nose-who will not try to
please us in our way, but makes us feel that we
ought to be pleased with hers, and who makes US
ashamed of tempestuous delight in mere
tricious sentimentalty and the caricature Of Pas
sion.
Moreover in this scene the listener did not hear
all or see to the end Great works are always
surrounded by an atmosphere of possibility as the
world is grit with space. When the eye and eaI
have seen and heard the utmost, the mind pro
ceeds whittier eye cannot penetrate, and every
work is more truly Judged by what it suggests
than by what il accomplshos. Hence lovers like
portraits of mistresses which seem entirely un.
like to an ordinary observer. 1t is because the
artist, and therein is he TN artist, has seen the
soul that shapes the beauty of the face, and paint
ing that has painted the likeness the lover loves
The Come Serena, from the La Sonnambula
was, perhaps not 30 perfectly done The first
evening, especially, the al mare, al % cry
OF extacy, was given, as if the delight were al
most painful Even if meant TO express the
minglng of JOY and sorrow, the pain was toe
prominent. But the exquisitely melodious and
Bellini-ish aria seemed breathed by the very SOU
of satisfied love. 1t had the same character o
tender tranquility that marked parts of the De-
FrcaSckltv scene.
But the bird song, IeA mass nna einmal singer
electrified the audience moro than any other O
the evenings delights. She sang it in English
\ AID with wonderful precision and purity of arti
culation. 1t is a birds MARBLE of delight. must
must be singing melodious sweep and show.
er of sparkling sound-the Lark love lyric to the