Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1867-01-23

NESTVALL AS ROMEO.-TO-night at the
New Memphis theater Romeo and Juliet
will be produced, and Nestvali will
enact the character of the ardent, i'm
petuous " Romeo" On the operate
stage Nestvali won her brightest laurels
In this character. So great was her rePu-
tstion on the continent Of Europe that
she was specially engaged at the impe-
rial opera to sing the character of
" Romeo" The opera was produced in
1889, and q special translation of the
hbTettO from Italian to French was
made for the occasion. Entirely new
scenery wa painted from sketches made
by artists sent to Verona ct the expense
OF the French government, and the en-
tire furniture and appointments were
correctly modelled in pdDier nldche,
from specimens of antique furniture pre-
served in the museums. The total eX-
pense Of the production of the opera was
four hundred thousand francs, a sum
which appears fabulous to American
ideas. The opera ran for eighteen con-
~secutive months, and proved the most
profitable veT produced AZ the Imperial.
On the initial performance the En-
peror Napoleon and all his ministers
we're present, and so charmed
was Napoleon with the performance that
during the run of the opera he attended
upward OF twenty representations, and
presented Nestvgli with q suit of aTmor
made entirely Of aluminium, costing
some twenty thousand francs, IA portion
Of which she recently here in Bel
DeDlOniO) n splendid oil painting of
Nestvalias "Romeo," painted by the most
celebrated ar list of Paris, now hangs in
the Louvre. During the run Of the opera
two event occurred which created a
profound sensation not only in Paris, but
throughout the continent. On its thir-
tieth representation, as the Emperor
Napoleon was leaving the opera house,
OrSini made his attempt at assassina-
ton. On its fitieth representation, Gil
rard, the celebrated composer and con-
ductor, died in the theater. 1t is the
custom there, especially after the first
representation, for the conductor to aban-
don the use Of his baton, except IL the
most intricate passages, As Nestvali
was saying ir the fourth act, the aria
"If thou sleepest, wake thou
Girard raised his hand the music
ceased-eil eyes were turned upon the
conductor. The hand remained raised,
and upon touching him he was found
to be dead. OF course the perform
ance was suspended. His demise cast
a gloom over ali Paris, and was SEN
felJ by the musical world. Having
achieved 20 much fame upon the ope-
ratio stage as Romeo, Uher admirers were
very anxious she should play Shak-
speare's Romeo" on the English stage.
She has done 90 and achieved success.
append a criticism from q Philadel-
phia paper upon her performance Of the
character: 1.-THE Romeo of Vestvali is
far superior 10 any Romeo that has
been seen for years. The distinction is
not one Of degree but Of kind. For a
long time the part, like 81 many which
Nestvali creates, has been a convention.
Hers is q living, breathing, animated,
human being. The memory Of
viii call up . Romeo IS a col.
of speeches delivered with more
less elCqueuce, not as an individual.
Nestyali has given the verifying spark,
whereby the fragments are knit to-
and become an organized en-
Her persOnatiOn is the very ltal-
ian boy it is flushed with the genial
spirit of the south IL tastes Of youth and
of the very sap OF life. She interests Us
with the temperament Of her hero, so
hat the singular spirit of earnestness
with which the short, gallant speeches at
the ball are delivered, prepares the way
for those passionate breathiug5 of love
" niti IElhtI AlG lut6INlCNS WIN Jliletf
so remarkable. Not a word seems to
fall without kindling a feeling in the
heart Of the fair bearer. The garden
scene was an inspiration, an i'm
petuOus ~ourpouring of devotion, here
and there 1elicately tempered by the
opposite quality OF q shrinking reverence.
Ii was no fine speech-maker, no stage
lover, no victim TO maudling sentiment,
but an impetuOus youth, whose whole
s0Ul was susorbed IN one strong emotion,
snd whose lips must speak the inspira-
ton of his heart. the indignation with
'Rpme0' rushed on 'Tybalt,'
after the death Of Mercutio,I was an
expression OF the same quick, sen
sitive temperament. The grief in 'Friar
Laurence's cell, when Romeo set forth
the sorrow OF his UaGislmenL in tones OF
ever increasing anguish, till AZ last it
reached its eliminating point, and he
dashed himself en- the ground with real
despair, waa admirably portrayed. All
the manifestation of 'R0meo's' dispO-
Nytre given with equal truth and
the one soul was recognizable through
them sll. TO drop tOmOre material con-
siderations, Nestyaii lOoKs Romeo ex-
ceediugiy well. Her department is
frank and easy she walks the stage with
air Of command, her eye beams with
In a word, Romeo is one
of her greatest successes