Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1867-02-06
RISTORI.
The Tragic Queen in Memphis

At an early hour last evening the
opera house was crowded with the elite
Of the city, to witness the great tragic
queen, Madame Adelaide Ristori, in her
grand p~ortraiture of Medea. The public
have beer led TO expect so much from
this lady that nothing but something
truly magnificent would have satisfied
the general craving. We, among the
rest, went to the opera hsuse, expecting
too much, but we must acknowledge
that, although Rist0ri's Medea did not
reach the hight OF the idea we had
formed, yet we must acknowledge we
have never seen anything equal to
her acting neither ia Europe or
America, and we have seen first
class histrionic talent on both continents.
Madame RistoTi is a reader Of extraordi-
nary beauty, while her italian Is fault
less. The beauty OF her voice rises to a
grandeur that thrills the very soul. One
must understand the language, however,
TO properly appreciate her. She has full
flIlLlhLlu VI AEA AhIAAA UA61AAHf &A- C0-
saym more in a look than nine-tenths Of
her profession can explain in a book, and
it is in this particular point, and in the
beauty of her gestures, hat al Ame-i-
can public can appreciate her greatneSJ
In the second act where she draws ia
son I" to an acknowledgment that he in
tends to wed " CreUsa" her utterance Of
"a Creusa ii sposi?"
was truly sublime; nothing could have
surpassed il, for it was natureltself. This,
however, does not require the fire which
she threw into her acting and speech,
where she accuses "Creusa" with rob-
bling her Of the love Of her children. In
this she displayed a grandeur that can
only be compared to the lioness who has
been robbed of her young one, making a
last leap for their recovery. In the last
act, where the children are brought to
her and the love of the mother returns,
electrifying her motions, passion,
love, feeling, affection were all brought
to play, and rendered with the touch of
a mGstro's-master work. The eli
max of her pictures are unsurpassed.
In praising Ristori, we must not
forget little Grazioso Glech, a boy Of not
than seven or eight years old, who
rendered the part of 'Lyconn inamanner
we have never seen equaled by one of his
years. He spoke distinctly and clear,
and though ne may not be q native Of
Southern Italy, he yet uttered his words
enough of the Neopolitan dialect to
nave made it really pleasant to the ear
We are sorry that Madame RistoTi chose
Nedea as her opening piece. 1t is by no
means an interesting play, and we do
lot think it gives her that field for
/, display of her abilities that
either maria Stuart " or "Lady Mac
)eth would. Medea depends en-
irely on the merit Of the leading
character. The story is simple and COM
nOnplace, and neither the incidents or
snguage reach that classic point which
distinguish the tragedy from the drama.
UGH plays may suit the Italian taste,
Who admire the recItatIve drama and
,eauty Of language, but the Americans
re lovers of romantic incidents, Of strik-
ng pictures ending in the d-sHouemeHtS
with elegant language, and On
equently look upon what in Italy are
onsidered gems as but dry and dull
peeches This evening the beautiful
lay of Marie Stuart viii be performed,
which viii require, and bring into play,
lore Of the stock company which are
nth Madame Ristori.