Daily American organ. [volume] (Washington, D.C.) 1854-1856, 1856-05-27
Rachel and RistOri.

We extract from letter recently received from
an American lady now resident in Paris, the fol-
lowing: NJ 0f as9S a ef
have been three times to see the famous Rss
tori--the Rachel Of the italian drama. have
seen her in two of Alferi's tragedies" Mira"
and "Rosamonda" and in translation Of Schiller's
Mary Queen of Scotsp SHE is a wonderful his,
trionic genius Of the fullest and richest nature.
She expresses with intense power, every feeling
woman can experience, and her face is the most
mobile Ihave ever seen. Her smile is craiment
rdvissdate-dssez pour draai,er lie Pdpe" a little
French woman said. In the three different roles,
she looks like three different individuals--withou
painting her face, the Italians don't do that-and
of three distinct ages. In Mira, which s the OLD
Greek story, which Virgil and Dante sing, and
which would be absolutely revolving, if you did not
carry yourself back to the times of the rule Of the
Despotic Gods OF Olympus, she appears like beau
tiful girl of sixteen wearing her own rich, dark
hair. In Mary. Stuart, like woman of forty-fve
with auburn hair, and coi6ivc a Ia Stuart and in
Rosamonda, quite another parsonage. You recol-
ect the story of Mira who Is forced by the ire OF
Venus to love "aves lamour,n her own father.
Alferi has managed the horrible, unnatural
story wonderfully well, and Ristori renders it so
purely and with such chastc soul always in vio-
lent struggle against her sad >destiny to the mo-
ment of her DEATH that unnatural as it is, one is
in sympathy with soul SO struggling and 30 self
abhorring. Few actresses could play the role,
chastey. Rstori is not the finished classic actrice
which Rachel is, but she has thousand times
more native power, and represents all delicacy and
affection in way Rachel never could, because she
never feels it.. Some one has translated Phedre
for her, and hope to have the pleasure Of seeing
and hearing her in her beautiful italian, and have
chance to compare the two grande tragediennes
of the age fairly. In the scene of FOtheringay Park
and the confessionscene of Mary Ristori is really
mapnficpnf and tho rnannar in Viii oh oh koor,a
her eyes fixed upon the crucifx after her brief in
terview with Leicester, when her soul returns to
earth again for one short moment from the beati-
fed state, is perfectly thrilling. Certainly the rich
vive nature Of the Italians, with their lightning
rapid change of PRESTON and their rich flowing
tender and love language renders them the best
natural actors in the world. ~ AtN
With all that rich foundation, If they only had
the finished classic culture, which can only be at
tanned at Paris, they would surpass by far the
French school. The Parisians have done with
Ristori precisely what the Americans did when
Rachel played before them, g ciest-a-dire," kept
their eyes on the ibretto, and read the part in
French, and SO have lost all her wonderful express
sion of face and her graceful movement There
are, however, hundred to one in America who
understand French to one in Paris who either read
or understand italian, and If they were only wise
enough to look at her. they could very well make
out the story, by her expressive face and action,
and appreciate to great extent her dramatic
power. CAL s-tr
There is very beautiful poem, "Niccolini,"
written lately by one Of Itays best modern poets,
Alphonso de Brescia, which breathes high tone
of liberal and Protestant Christianity He is Flo
rentino, (Florentine.) There has been q grand
illumination here to celebrate the Peace, and few
nights before to celebrate the birth of the Young
Prince. You see ! am doing my best to give you
the Paris news. seu 1S tsf7sa &C.
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