The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1868-08-13
PATTI.
usr rrnrr,nr. .nd career.

of her career as a singer. we give below It's
iThe season Just terminated at the royal Ital-
ian Opera, although on the whole by no means
one of the most prosperous In the history OF
that establishment, could not have euded more
brilliantly than with the varied combination OF
entertainments presented the other night Tor
the benefit of Mad'lle Adellna Patti Including
an act from Romeo e GtuliettH.' an act frOm
Faust and an act from La Flglia del Reggl-
mento.' In each of these operas hrst Two
of recent growth, the last about a quarter OF 9
century Blad'lle Patti has earned some OF
her fairesi Iaurels; and Tor the purpose OF cdls-
playing the versatility of her talent better
choice could hardly have been made. But
of Mad'lle Patti there is nothing new to say.
Their conspicuous features are familiar to opera
goers in London, and their merits, vocal
and dramatic, are unanimously admitted. No
more need be added than that on the occasion
referred to she selected from "Romeo Guli-
eta" the first act, containing the lively cavatina
In waltz measure, "Hella calma dun bel sogno,"
and the so styled madrlgal, "ADglol regina" in
which juliet and Romeo first exchange senti
ments; from Faust, the garden seene," the
finest and most genuine passage in that opera,
and probably in all Gounod: aud from LA
Figlla del Reggimenta," the scene in which at
music lesson, accompanied on the pianoforte
by the Marchioness of Berken6eld, the CT deodnt
Vivandiere, tired of the restraldt imposed upon
her. and egged on to rebellion by Sergeant
Sulpizio, petulantly tears up her music, and,
substituting the old song for the new, attacks
with enthusiasm the charactic Rata plan.
Each of these well.known scenes was done
to absolute perfection, and in each Mile. Patti
reused the audience to an extraordinary degree
of enthusiasm. The brilliant waltz of Ju ieJ was
heartily enCored; the same compliment was paid
to the not less brilliant Air des Bijoux' of Mar
gdret, and again to the Rataplan of Maria.
Never, indeed, did the most popular stage singer
OF the day exhibit her manifold gifts and accom-
plishnents TO better advantage. Her principal
associate in Romeo Giulietta,' and Faust
MargherIta,' was Signor Mario, happily in his
best mood; and thus tue first interview bet ween
the 'star-crossed lovers in the former, and the
garden scene in the latter, were represented
with grace and truthtulness impossible to
surpass. To crown the whole, Mile. Patti gave
the solos in God Save the Queen with vigor
and point which can only be explained by the
fact of her being quite conversant with the
English language as with her own. The evening,
10 short, was one series of triumphs
Before these words are in type Mad'lle Patti
willthave become a French marcniouess; her
marriage with the Marquis de Caux. q nobleman
attached to the Imperial court of France having
been announced to take place this morning at
II o'clock, IN the Catholic Chapel of st. Mary's,
Clapham Park. 1t is not our usual custom to
pay attention to such matters; but as it is pos
sible, though we trust impro baOle, that this new
turn OF fortune may sooner than later deprive
the Italian lyric stage OF one OF its brightest
ornaments, we are tempted to refer to II, and
further to take the opportunity OF briefly recapltu-
lating the history OF Mad'lle PATHS past career
in England. Few lovers OF Italian opera can
have forgotten the universal regret caused by
the almost sudden death, at st. Petersburg, of
that admirable singer, Nine. Angioliue Bosio,
III hpIll, 1909. WIN 00r III seemed tlat we lau
lost the only genuine Italian soprano on the
Italian stage. Her place vas i'll supplied at the
Royal Italian Opera by Nine. Nolan Carvalho,
too essentially Freuch to accommodate herself
readily to the Italian style, and not supplied at
all by Mme Lott, or by any other singer upon
whom, IN 1859 and 1860, Mr. Gye could lay
hands admitting as we must IN fairness, the
practised talent OF Nine. Pence, who belonged
rather TO the Grisi than to the Bosio school. a
year later, however, the memorable year of the
second series of Mme Crisis farewell per-
formances' the year of the closing of her
Majesty's Theatre, and OF Mr.. Mapleson'S first
adventure as q director of Italian Opera (at the
Lyceum) when things looked dull aud unprom-
ising enough at Covent Garden, q new phe-
nomenon suddenly appeared. That phenomenon
was Adelna Patti, who, unheralded by any pre-
liminary flourish OF trumpets, on the l4th of
May, 1861, took operate London by Storm
Nobody, in fact, except those whose special
business it is to occupy themselves with musical
matters, at home and abroad, had even heard of
her. The opera was ia Sonnambula,' and when
The Anlind of the evening trpped on the stage
TO impart the funess OF her joy TO her associates
in the melodious recitative, Care clmpagne,
there was a general feeling of surprise. She
looked like mere chIld slight in form and
dlminutive in stature-something from which
to expect great things would be absurd. And
that no one expected great things was evident
from the general apathy OF the house. But at
the conclusion of the recltative the ice was
broken.
"No such voice has been heard since the voice
of Angioline Bosio was silent, aud no such
singing. This was confirmed in Come per me
Seren0; and as the opera proceeded The audi.
ence grew warmer and warmer. The bedroom
scene to old opera-goers, almost revived the
days of Mahbran, and the 'Ah non giunge,
that most rapturous OF fnales-according TO the
manner, so essentially different from the manner
of Mozart and Beethoven, in which certain ad-
mired Italian composers express raptare-put
the seal upon triumph as indispGtaole as was
the papers were loud in her praises; and il
was as true of Mile. Patti as Of Lord
Byron, that one morning she awoke and
found herself famous In the same year the
new singer played Lucia, with great success
though with hardly so much as followed her
AnainG and for the best Of reasons-she was
not the consummate actress she is now; Pio-
Letta LA TraVataD; Zertind ('Don Gioyannt)
on one of the Grisi farewell nights effectively
eclipsing Nine. Carvalho, who had played Ter
lima in the earlier part of the season; Martha,
and Rostnd ('Il Barbiere,O again casting heI
predecessor Nine. CarValho, into the sha de-
All this time her vogue was increasing Each
part earned for Mad'lle Patti step onward IL
public estimation, and at the end of the season
as Schumann said on the apparition of Schu
bert's first trio, die WeH gdntz GCetder trisCh'-
for the manager of the Royal Italian Opera, a
all events.
'That Msd'Ile Patti was the abiding star 0
the season 1862 may we'll be imagined. Never
theless, she added only two parts to those WI
have enumerated-NOrinG ('Don PasqualeO anC
Dinor0h, in the opera 80 called; the latter per
tormance in all respects so remarkable that it i
difficult to understand why it has never been re
peated. No such impersonation of the dean,
and romantic heroine of Meyerbeer's charming
pastoral as that OF Mad'lle Patti has been wit
messed since Dinorah' was first produced il
London, under Meyerheer's own superintendent
In 1853. In 1863 Mad'lle Patti brought four neV
parts to her already extensive repertory-LeOnOr
Tn TroyatoreO, Nineud (La Gazza Ladra')
Adind (L'Elisir dAnoreO and Maria ftL