The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1853-11-26

1t somewhat incorrectly called The ruroors that hsd
gone forth OF the unusual with which was being
prepared not less than natural desire to the ase
great work Of of the greatest living composers psr
formed for the rst time in America created quite n
excitement among opera and the sale Of reserves
seats had been large The total receipts cannot hayo
fallen short Of ST. 750 they did not exceed that sul
For the second time since Maretzeks began, ~
have the pleasure of announcing unequivoca succs
We INDUCING In figure Of speech when that
many to whom " Le Prophete"-with Mario and Grid
has been long familiar astonshed at the perfect
manner In which it presented last evening and tn
ability displayed by nearly all the performers savia
Mafaniello atoned for many sins-hs Jean of Lsyden
the best character in which have him. His sct
ing is fautess Dignity sits naturally upon him and tho
conflicting emotions of the and the monarch could
hardly be more faithfully rendered. We had expected
we contest to see him, according to CUSTOM leave the
composer far behind, and revsl in of music oe
his own We had felt . misgivng that ne would
fail in some OF those passages in which greater tenora
have established reputation the strength Of DIFF
hculties overcome. But in both anticpatons have
been disappointed salvi gracoualy permitted Meyer.
beer to have his own way; and during the whole piece
his voice never failed It is improbable that he svsr
sang anything with more purity and feeling than thu
pasterale, Sun impero pi suavs have nothing from
him noble perfect, than tho scene IN which
he claims to have received tae gift prophecy (ast
third last scens Nor his conception of the great
scene in tbs fourth act, where, by stratsg-m he In.
duces his mother to deny her son. though slightly differ.
emit from the rendering Of the situation by other nor.
formers, less artistic or brilliant.
Madame Stenanone (FIdes) did not to be- in good
voice during the first and second acts The duet with
Bertha, "Dea mesa giorno" good, and deserved
the applause it received but STILL every and then
those harsh in Mds SeGauonss voice grated upon
the ear. Her triumph did not begin till the famous
.Peta pieta" in the fourth act. This she rendered
with wonderful power and when afterwards she resog-
nses her in the prophet king her acting worthy
of what have from her in Norma We Doubt
that great hers contains effective the
one in which she dsclaims her 1t h in fact, OF
the most dramatic and effective situations lyric
stage and shall have said enough when add that
she did 1t Justice The 'sVana illusion" delicious.
Mad Bertucca (Bertha) Of whom see far too little,
performed her share of this and the former duet very
creditably Her voice seemed musical than usuaI
Nor was Beneventano Count d'obortha below his usual
standard. M1rin, Rosi and Welt played the three
Anabapts and sang the beautiful music in the minor
which forms the principal charm of the first acts, in
worthy Of it. To hear it alone were worth going
to Niblo's.
To Max Maretzek due praise than we can besto
for the enterprise and conscientious with which
the prophetic has been got up. The scenery-esps.
cially the coronation in the fourth acts far
superior thing have been used to see at the
Opera The choruaes larger and better drilled than
usual The chorus of children in the coronation scena
was much applauded. Altogether, think that if the
"Pr"phete" has not profitable rum it will show that
the people of New York will not support Italian opera.
Theatrical Criticism.
We in the habit Of sending members of our corps to
crcise the performances of artists at the rrucips7
theatres and at the Broadway among the We have
f<asl -
yet do injustice son stmes however, the crtiqusa
may be on one side Of the line and sometimes on the
other-but lever Intentionally our part Sometimes
the public are pleased and the artist dpeased with the
same criticism, and sometimes it is the Az for
pleasing ALL that is such impossbility that could
never succeed in accomplishing it, matter how much
We tried We do not try to Go that but try be just
and fpossble little generous too. few days ago ws
sent reporter to notice the Performance the Broad.
way theatre Of Miss Julia Dean who had always been
noticed fsvorsbly in columns. Following, we sup
pose his Judgment he the annexed criticisn
whish is pretty severe-perhaps than is JUST
BROADWAY THEATRE-MIss JULIA DEAN
Miss Julia Dean, an actress of note at South
and West, commenced an nssgement at the Broadway
mans Fazo Italian WIFE twas presented
Miss Dean, MS Blanca; Mr.. Conway Fazio Miss Dean
figure and considerable talent for the stage That taent
yet crude and she displays the faults OF novics along
the errors engineered school, The
Of this very effective play well known need ex
planation The love Of Blanca for Fszo-his deseron Of
her for Observation-Disclosures denunciaton of him, and her
subsequent rept have often drawn the
women and moved the pathes of serner SEX The
character Of Blanca has been played veoften chief
representatives of it in this country have been Mss Char
lotte Cushman Miss Fanny Jarman Mrs. Faren and,
Miss Fanny Kemble. Miss Deans teachers have given
her the stage business of Charlotte Cushan ana Mrs
Farren, but she lacks the intensity and power Of the
former-the grace ard pathos of the latter She did
nothing with the first act In the second the scsne with
nRk In nf fhA
nodesty of nature her anxiety to produce .Tects
She ost sight of the audience and In her Dialogue
with her husband she stood at right angles
that the audience might have their atten hon nrsosed
from her to him. Her pronunciation bad she said
eloquent speech, "Fazo, thou wrong'st peo was mis-.
conceived She gave it angrily not with the calm
Her announcement Of the suspicion, "Thou hast seen
Aldab La seemed like conclusion arrived time
before Al not epsesds.sd by the dialogue watch had
see Faxio dead rather than in Adabeas arms bot.
ter, though its effect impaired by bad habit OF
mouthDg and drawing the words. The third was
more natural though the actress lacked the power
The violent emotions through which Blanca sup.
posed to The author her superior and she
seemed to be end. avorng up TO hs creation Tho
scene with Fazio In prison was quiet AMI express.
citation were painfully apparent Miss Deans positions
and gestures are awkward and in her scene @th the
arms In readng the line GOD gave ye usgn ent but
ye falsely judge she used four gestures and neither OF
them expressed nythiug She read the line, which 10
gave ye judgment; but ye, falsely judgep' She spoke
1t to the Duke alone instead Of addressing to the whole
court, because she knew that il she natural she
would be Ineffective if she TUNED toward the The
audience could nat see her face, which is very
pleasing one In the fourth act, the with Aida.
bella Was well done, but Miss Dean lost
her identty--rever forgot her audience; while
addressing Adabea she did not look at her The 18th
act was still better and the death of Bapcs vas
nsturs The actress had lost her power to rsat and
came down to earth again, per force. Hiss Dean has
talent but she has yet TO learn how to use It, By study
and close attention she leading position but
she must chatten her STYLE all her power, all her
pathos all her sentu emit VIII pass for naught among the
judiciOus She produces fine effect at OF nome at.
and directly afterwards destroys the pleasing
1t by some extravaganza which audience would pardon
in woman less fortunate than Miss Dean in PERSONAL
attractions.
Mr.. Conway's Fazo and Mrs. Abbott's Aldabella
excellent performances. Mr. L.nsrgan gave the lines OF
the Duke sensiby and effectively The house about
two thirds flloc