New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1866-09-21
THEATRE FRANCAIS.
RISTORI IN MEDIA.

stalwart rivals EuphOron and Sophocles with the
laurels you eagerly crayeds it not fame enough 10
know that down the vista of these many centuries the
work of your brain has Sped has found Interpretation in
living languages well as Dead and in this Christian
year Of 1866 has been electrified into life in new
world, by the genius of Adelaide Ristoh BE content
old Greek; we thank you and not Legouye, Mon
taneh, nor even Thomas Williams, for the dramatic
feast at which we supped tonight. You
are the head and front of all our Fasting
you are the Caesar unto which the things
that are Cesars shall be rendered Legouve felt the
power of your ideal "Medea" and put your soul into
French body for the Incompatible Rachel. "Not So"
said the great actress I'm not accept your tragedy
! Horrors such TEEN in this embodiment Of Greek
mythology can find place upon the modern stage.
Put away your manuscript" And Legouye repulsed By
the pestess of the French theater bded his time until
there came to Paris in 1855 one who was great enough to
be called Raches rival The Italian who dared to per-
senate Alfers "Myha" could not scrupe at the deeds
of la terr,Ja Mdea," and quickly there found
apt translator in Joseph Monanel whose Italian version
of the French play does honor to Legouve as well to
himself
Need the argument of Medea be told again. Has il no.
been read in classical dictionaresf not in Greek-by
every paygoer that ever went to school Liberty is
taken with mythology il is true such as fiction calls poet
|
whether Medea be deserted in barbarous regions rather
than at Connth whether Creons daughter be known
Gauce or Crensa; whether Medea have two children or
more; and whether they be called Mermerls and Phees
or Lycaon and Molanthus "Whats in name {" Mythol.
ogy that realm of liberties need have better fate than
history with which Shakespeare has played such mad
pranks. Have not seen, too, an English version
of Medea dreay heavy spectacle, the recol-
lection Of which is incubus of drapery, Suits.
in sandals many shreks and much Glowing, Medea Of
Fenian extraction with here and there fash Of some
thing akin to genius that made you sigh that such good
material had not made better artist
"Ah, the little more and how much is;
The little less and what worlds away"
Remembering that picture, lei US look on this Yes,
New really experiencing sensation. You feel it IN
the air you approach the theaer bursts upon you fully
as calcium ght-one of Mr.. Graus marvellous coneep-
ton makes its apology orthe wretehed state OK
the weather Is significant OF the rising of new and daz
cling sun in the dramatic ARMAMENT In truth, America
needs reformation SDeriano. And the entrance All
iostlo and hurry books ofhe opera No, not exactly
yet it is tho Academy of Music with the singing left out
French German and Italian make your ears ring
with the memory of other lands, and yon wonder
whether New-York has not crossed the Atlantic
and sat down in Paris. All But the interior of the
theater brings one back to ones native land. This
is not the architecture of the Bouleyards Yet though
our sins are many, what has New-Tork done that
! We should be afflicted with another amusing fall
ure. Sure il is in architectural Switzerland We
arc now, where an avalanche Of galleries threatens
to oycrwhem an oyer-coRfding parere. You hold
your breath for fear of the catastrophe, but 1t comes
not nor will IL still there is the sensation, and as sensa-
ton goes vastly beyond fact, the Theatre Francois may
very decidedly be pronounced far other than thing Of
Iba all
fancy painted it, Fashion crowds the balcony in auaty
attire Newport has returned home to give the
Tragic Queen fitting wecome-primG dOHne,
teateurs aud artists sit in state looking unutterable
things How much they understand Of Ialian how much
they dramatic att and lorg for worthy exponent Of
IT, is not for las TO say All NewYork is there in fine
feathers and futer and Rstor viii appear before tho
best intellect that this commercial city can furnish.
The overture from Norma a fitting Introduction, and
thoa the curtain rises. Act !. Before statue of Diana,
who wears q very low comedy smirk appear Creou,
Orpheus and JASON the first not good the last exceed
iugly bad, the second doing all in his power
to redeem the shortcomings of his associates.
Cesare Riston is conscientious actor, looking
so much like Madame Ristor to warrant
our supDosng him to be brother His school, though
ura-Italan good his action is graceful, his manner
earnest. The management declare, however that the
corps drqma4ue comprises the most eminent artists Of
the Italian dramatic stage which, to the best of our very
vivid recollection, is far from true We VIII wait
nevertheless, for the developments Of tho future
Crcuza enters pretty italian girl Of small dramatic
capacity who fails 70 do justice to really excellent part
You watch instead that very humble parsonage "The
Nurse" who is beautiful picture as we have seen
upon the stage Tor many day. Indeed she brings back
Raphacls lladoanas Nohingcould be more picturesque
than her costume and her face embodes the true Roman
type, yet beauag with more than the ordinary Roman
intelligence Little as Virginia Casati did she did that
little we'll and we indebted 70 her fo- unusual SEN
sation-that of seeing minor part excelenty filed
Scene " Ristoa appears on the hills above carrying
and leading her children in the attitude made SO familiar
by photography Yes it is she, and the audience well
come her. not Rstor has been in the habit Of being
welcomed by audiences whom she known, sill, her
reception is sufficiently hearty to set the artist at her
ease and assure her Of Americas good will. But
We have seen Rs.od act Medea better
we have seen her when there not
enorgy-for this quality fully giyen-but
when she displayed more tenderness, nore abandon.
Once OF twice tonight Rstor simply Rs,or Medea
was forgotten and the audience remembered Careless
America is in things artistic there still those who
watch with jealous eyes and such mporo the great Italian
to be her best and show the world what it is finds
greatest favor in the old.
Ristoris presence is NOBLE and she sautes Creuza,
We are inclined TO cxcam with her "Qal saoH d. vocei
gual fonfe reya'e LG reiHa neP esuie traiaee" Her
voice wonderfully beautiful fresh and round as that Of
extreme YOUTH and well modulaed as to charm ears to
which the italian language is a mystery Her figure
imposes and her face though far from being tragic IDEAL
is expressive and sympathetic You like the woman
through the artist
And now at this carly hour, when Medea is still ka-
lodoscopic vision, with point so woven INTO an
hoor n fr-np-