The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1852-06-04

herself the classic rsertovs Of Milder. could su-
body the romantic school Of Schroeder Dsvriont and
Jenny Lind. and could also sng the music Of tn.
on higher terms than had ever been before granted
to any singer in Germany, with leave Of absence
for six months every year II was on hor dePars,ns
from Hamburg, in May. 1851, for this engagement.
that ut farewell concert at the Tonhallo she was
publicly crowned She took her leave on the snsa-
ing evening, in Fides, and on ct tho Sta
ton the next morning. to take her place in the Ber-
lin train, tho orchestra Of the theatre assembled
and played the march from the Prophetic" the pops-
iation greeting hor with repeated cheers She re-
appeared at Berlin, in May, az Fides, and had
sPiendid ovation; on the 23d Of June, M. Roger,
inc French tenor, made his appearance as Jean 0f
Leyden, and the opera had another run. With tbs
same singer she sung in Meyerbeer's +" Huguonots,"
her Valentino being another great hit In July ana
August sns ne was engage at BIe,lau, completisx
returned to Berlin, the theatre being crammed Ia
excess to witness her Fidelo But now light had
fallen on the Berlin management by her triumphant
appearance Clytemnestrc, in Guek's Iphfgenis
en- Abide" Madame Rooster being the Iphigenis
The classic traditions Of Mider were pronounced to
be eclipsed by the graceful and picturesque postures
the great bursts of feeling and the electric warmth
of Joanna Wagner Defamation, attitude, and
gesture wero combined, according to the critics in
Berlin to constitute the lifeke completeness the
classic beau ideal Tho arrangement Of the drapery
on her tall and majestic figure is much commented
upon by the Teutonic writer's; and her overwhelm-
Is emphatically vindicated. Relbsab, tho eminent
critic of Berlin, is eloquent the declamatory
powers she manifested in her rectativss, expressive
of grief, anger, and maternal anguish. Such waS
the impression made by her acting and singing il
Gluck's opera, that on the 18th of October last,
Spontini's Olympic expressly revived for
her to appear as statera gelbstab criticzing
the performance, declares that she was as
passionate rs Medusa, as imperious as Juno.
and MS pathetic Niobc" Madame Spontini,
the widow of the composer, was present at the re-
viyal, and OH the noxt day wrote letter expressing
her high admiration Of Wagner's genius. Wen
nese critic thus describes her attributes-"Tc
sumo in one single word tho effect produced by
Madllo. Wagner on the stage, we will say that
which accurately describes her talent and appear
ance, is nobleness her features noble, her figure
is noble, her action and bearing noble, even in
the most exciting moments. Her style is Us distn-
guished it il Conscientious; she gives way
to bad TASTE strives for unnatural effects, and
consequently produces profound emotion by her
dignifed simplicity, and by organ Of such extra
ordinary volume as has been rarely heard. Fortu-
nate will he the directors of the foreign theatres who
will be able to secure, for the shortest period,
the rare and marvellous talent which is destined to
mark IN epoch in the annals Of the lyrical drama"
In addition to the parts have mentioned above.
Joanna Wagner has sustained Alice, in Robert 10
Diable' the Grand Priestess, in Spontini's Yea
tale:" Donna Anna in g Don Giovanni;" Lucrezia
Borgia; and Romeo, in Ben's "Capuletti .
Montecch
The Jenny Lind excitement in 1917, by coming to
this country with two engagements, has been renew
ed by the advent Of Madle. Wagner.