The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1856-07-05
NEW YORK HERALD. FRIDAY, JULY 4. 1855.

same operate world called upon 70 stretch
It's curiosity to the highest degree Of tension. Obi 5atur
day last they were all anticipating the dstw OF Made
moiseie johanna Wagner trdy whose appearance has
been preceded by more talk ta any one since the time
when horoscopes were Cast ABOUT the cofnins "a Made
uoisele Jenny Lind On this occasion the Of ex
element was completely different from that Of three
weeks since Their we were TO SOC young artist just
starting In brilliant career with all the attributes OF
youth-we nay almost say grishness Now we were
10 witness the dea OF an artist young, indeed according
~ the date OF her BIRTH but already endowed with rep
uation OF some years standing gained by her achieve
mens in branch OF art associated with me most
maturity The lyric Tagednae OF Berlin was 10 stand
before Usthe lady whom every body expected TO see
three years ago, and the check TO whose appearances
made greater noise at the time than the Of
When ftt Madame Ristori in the character of Medea
was sufficient 70 prove iha all was right The same may
be said OF Mademoiselle Wagner. When she advanced
from the back OF the stage as the armed Romeo, her
stately form encased 10 the mort glitter ng mail the
tiers d tar hair falling about her the tall plume
waving above her head che gave full earnest Of her vic
tory Vera incessu pdu,t dea;' there revelation
supeority III the very step anu the sonorous voice in
which the young warrior announced his mission
ambas OF peace TO the Capuets, and which rang
Through the house az penetrating and as awakening
the summons OF trumpet created feeling which
nothing short oil amazeaeht leople could not
make up their minds whether they were looking at
great vocalist or great acuess-but, at all events
grand apparition wa- before them step light and
ests voice combining the resources OF the oo'rdo and
the Srano spirited mode OF defamation native grace
mat rnoerec every pose pictorial iustraton-this wa
altogether such union OF elements as or while
ponds the power OF reflection The truly martial
In which she shouted forth the air Of defiance, 81
rtnenad uh,tce s7add most brilliantly wound up the
frs. sceLc next came the duet with Giuetta
IN which Mademoisee Wagner displayed all the passion
Of an ardent lover still in the same grand sculptured
sly lie with which she had represented the emotions oi
Hatred An enthusiastic call followed the descent OF the
drop scene, and as soon the plau,ts had subsidized
lew sounds OF dsapprobation heard. These,
which couc only have denoei some personal feeling
for 10 attribute them to critical opinion would be simply
Professionalism mercy the effect Of rekndng the zeal
Of the audience, and Mademoiselle Wagner again
summoned before the curtain.
The second act Of IL Capuett cd Montecchi" Is SINH
lar in character To the rs Of the first act being
chiefly made up Of sqaabble between the factions
occasioOct by Romeos attempt carry OF Gu,ea aud
thus 70 prevent her marriage with Tebaido. Monecchi
and Capuetti huri Indignation in each others teeth
befoE6 the essential difference in the situation
being the presence Of Giuetta, whose head
the batties fought. The manner in which Romeo,
atted III graceful bail dress. clasps Giuctts "
his heart amid the storm of fury that IL raging
around thin. IL exquisitely beautiful II should be dis
ncty rsni ked that the Romeo during the early part OF
the OPERAS by no means the Romeo OF shakspcre He
II not young gentleman with father still living, who
roans about in dark places utterng amorous concets
but he Is the active head Of his faction with his thoughts
divided between love and war; ready to carry oil his
mistress ty force OF arms pour forth his alteration
at her feet II Is parsonage Of this sort that Is endowed
with bodily subs lance by Mademoisee Wagner. She is
the gaan Chief OF tho middle ages, commanding TO his
retaners naughty mcnacng 10 his foes, ima Toned
attitudes sculptured." Let it be .arly understood
that by tins expression we would not convey any notion
Is
y talesge, even the drapery. she drops in them
all H. by natural impulse and the hthesome charac
tor Of her movements Is rs remarkable AZ the grace and
beauty her attitudes.
The dis,u between Romeo and Tebado in the third
act whlc is brought TO sudden termination by the mp
pearanceof Gules funeral in the background brous
with it opportunity for display and vocal effect
introduced BY Mdemoelle Wagner took the audience by
surprise
yieni, 10 ii sprczzo sddo
Teco srguaci tuo,
Tu bramerai fra moi
LAlIi frapposte @ N mar,
said the Infatuated Romeo, anu while pronouncing these
words of defiance Mademosclie Wagner took such q sud
leap the highest ~ the lowest extremity OF her
expression Of overwhelming wrath, that the combination
vi the vocal feat with the htrionic outbreak Of
passing effect. Madcmosclc Wagner is essentially the
lyric dsedmne-with the emphasis the substantive
The resources Of her magnificent voice-or rather
two yoces-are devoted 10 the purposes Of dra.
matte illustration. and the power Of declaming
With force al both extremitcs OF tho organ Is
inv aIuable faculty, of which she fails TO
make good Even the brarurd passages which she
accompishes subscrycn to the situation Of the
met and 10 test these by the standard that would
be applied 70 concert singer would be unfair 10
Qure o colossus the minute neaness OF an ivory casket
II leave the actress out OF the question tina,
OF The transitions abrupt that ali the notes
completely rounded or but take singer and actress
together and these exceptions become tribes In the
presence Of grand q creation the Romeo o.
bademosele Wagner who OF course, reaches his climax
IN the fourth act, which Il almost identical with tina
Of not SHAKESPEARE, but Garrick The heartrc0dng sob
with which Romeo filings himself the supposed
Of Gulieta, and hs abandonment 20 luxury OF woth
transient rapture with which he observes her rcsuscaon
the shrek and attitude OF DESPAIR with which no exclaim
All nfece ~ IA the remembrance OF the poison ashc
through his mnd-came in such rapid succession that IN
audience looked with mingled ration Till ut tn
descent Of the curtain they rolled forth the most dcAcnn
applause and thrice summoned before the curtain the grca
artist who had already been called al the end Of every act