New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1860-04-20
TIE WINTER GARDEN.
MADAME ERRZZOLINI.


The Winter Garden-or In other words, the Spring
0pera-H appears to be made for Madame Free
zolni and Madame Frezzolini for the Winter Garden
Within he graceful and sororus lesser circles there has
been given memorable entertainment in the proiac-
ton Of tie opera Of Lucrszia Borgia, Madame Frez-
zon administering the dulcet decoctions Of music and
arsenic All that Rossin and Donzet and Verdi have
said Of Madame FrezzoliD and her poetic style, will
bs found 70 be true In seeing Is performance. We do
not claim for her the voice she had fifteen years back
Bat she Is great srtst--wth the great traditions Of
Italian iinging-traditions established before 1t wss
found petite to spoil good and sustain bad voices by
two orrets and three trombones playing In unsons
with 1.-THE traditions of style, too, which came down
from clsssic heroisms, from the divine Greeks-wth-
out which we would be compound Of smiths and an
gle, devoid Of grace or msnners-of style which per-
mestes the entire sr In dress post action, gesture,
"a well 90 In refined pronunciation Of language and OF
sympathetic musical utterance. The genius OF Italy
lies in circles. What distinguishes her painting as
well music Ia this line Of grace. The transcendenta
aDsogies about which yet nothing has been written,
sbow that Italian grace is q unit In all things. The
poetry Ia half music and the composer has but half
duty to perform The very structure of the verSe for
bids the jagged haltiDg which other languages
nce TO music When An artist is educated up to the
point Of giving this md this music, has ariso
cratic bearing necessary to lyrical representation
Low that Madame Rachel Ia dead-s the best dressed
wOmsn on the stsge-there ensues an entertainment
worth seeing and istening to--one which we can
speak of positively thouga the voceas In the case OF
Roncopi-is DOT in is first youth.
To represent al historical duchess Is no joke The
artist must look to begin with. 80 does Madame
r. zzolini Her bearing is superb. In tha regard
she has 10 equal the lyrical stage, and we qusstios
if on any stsge. Ii has pretense, no swagger-snd
TIE new rich woman can swagger as well as the man
but it has the inherent breadth and Style OF uncon-
seious good breeding and nobility This is phase
cf her acting. Another is her exquisite delicacy OF
poetic and musical phrasng. Every line is study.
In these days when men are called composers-snd
critics prsise them who have not the first idea OF
vocal divisions aud symmetres without which music
il oisbeyeled rubbish when so-caod artists, whether
singers or public speakers are turned out with eccae-
bion sp.ed and sputter-it is satisfactory to find the
perfect appreciation by the auditory of the great artist
IN question. The character of Lucrezia Borga is the
very best for Madame Frezzoni 1t is pity she did
not appear originally in it, but took that of La Son
nambula which now is not her forte.
On the same occasion at the Winter Garden there
appeared an American debutante-a Philadelphia
yourg lady-Miss Anna Wissner, as the contralso 1t
u an sbominsble brtecbes part, in which no woman
can exhibit any divinity, but is simply GU! Of place
iron first TO last Miss Anna Wissner Ia full, deep
coDtIalto voice. ranging from below the line up for
more than two octaves This Is, we believe, the sec
cnj time she ever appeared on the stage There is
every 1eason to suppose that with the Italian method
.be Already possesses, experience viii place her in
superior position.
The tenor, NJ. Erani was altogether finer than on
she first evening, end satisfied his audience. M.
easier, the baritone, usual proved himself one OF
the beet artf on the stage. The applause was great
and the calls before the curtain numerous.