New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1863-11-12

Vera Lorini's voice. method and style. This
lady is goodlooking-of medium hight. and is
well accustomed to the stage She has mezao soprano
voice. reaching in the music she sang last night from
about do below the line TO 81 fiat above it. The quality
Is good, round, feminine and singing: sic never
screeches which is positive peiy amid the decension OF
Italian yirtuososm. Her low notes are deficient In
power: her middle register pure and sympathetic in
tone. and her upper notes sufficiently strong to
be heard in the loud ensemble passages, above compe-
tton for resonance OF the lady's ability to execute
forid music form opinion the opera affords
chance for it. In the aria act second she executed
the cantabile slow movement with much JUNCTION and
pathos and drew the first applause she received. AS
the ensemble music which follows is feeble as re-
CARDS effect for the soprano we have only to men
ton the last scene in the fourth act In this the
composer makes amends for shortcomings, and
gives us splendid samples Of heartbroken music of the
school which Bclini was the first TO reveal in lt2e-no
other composer having reached the depths Of dramatic
Tenderness and soul bereavement before that essay.
In this last essay Madame Vera Lorni again shonc;
bu, we think she can do better. She was somewhat
wanting and did realize the prctensions set forth
Of her being "a great lyrical tragedian" Great TRACE
dan Il tremendous word: there is no great tragcdan
the stage with tie English spoken drama. and since
the death of Rachel we do not know any
on the French stage. The only great
lyrical tragcdan we ever was Ronconi, and he
probably is the most gifted actor who ever lived being
at once equally immense in comedy and tragedy. But
cyaggerations apartwhich beg 10 say do no good
Madomosec Vera Lorini Is accession to the lyrical
stage and we imagine will reward Mr.. Grau for having
secured her services.
Sgnor Steani the tenor. has vastly advanced since
we last heard him. He drew blood" in his first bit
of SOLO and maintained his laurels throughout The
piriO eegl-which sings itselfit is such an inspira
tion-vas encorcd Ii was given with much taste,
Judgment, and fceling-al except the alteration OF the
pcnuliimstc noe-which butcherea the tenderness OF
the close Singers should remember that they OF all the
music masters in the world cannot alter note Of man
Of genius.
Signor Morclli was welcomed back again. lie is a
chaie and elegant baritone and sang with discretion
no; abusing lis voice but remembering that tie chef
end Of music is music. and not noise
Signor Muzo led. and. excepting some choral dis
cordances KEEP, his hastily gathered forces fairly 10.
eethcr
Niho'r is 40 larre-wth the semi al jrssco arrange
mcuts holding over thousand more people than The
Paris Academy-that it is hardly safe to say what is a
large audience If only half full 1t holds 800 II pre-
senled a good appearance last night. for there were
many people present The audience was well disposed
70 applaud the mos, salient points.
4 here will be operate Performance NJ Niblos on
Saturday highland on Friday at tho Brooklyn
Academy.