The New York herald., 1870-09-20
A M q s E M E N T s.

plnuse and DELUXE Of bouquets.
To say that Steinway Hall was crowded last night
would but family express tie number OF the music
lovers that listened to the Swedish Nightingale
within Its walls. The wealth and fashion OF the
CITY, the bellies OF the watering places the loungers
OF the clubs, litterateurs musical ana dra-
matte artists, theatrical managers, cIergymen
ana professionals OF every possible descrip-
non were present. Even the upper gallery,
scarcely ever used BEFORE shone with full toilets
ana Kid gloves, and the lights fell on diamonds and
cleaning tresses from the stage to the Fourteenth
street door. Never before since 1t was built
did Steinway Han present such brilliant ana In
spring sig hit. It was critical audience wthal,
not one easily led away by the glitter Of any name,
but prepared to Judge for itself, as might be ex.
pected from the creme de Ia creme OF Americas
metropolis. Each remembered that the greatest
lyric artists that the world ever heard sang in this
city, and was prepared to render fair, impartial
verdict on the Nightingale and her assistants. Her
triumph was then, one that she might well be proud
or; one that added fresh lustre to her fame and
new chapet of laurels to her genius.
Mile. NILSSON sang "Angels Bright and Fair" from
Handels "Theodora;' the celebrated mad scene
from "Hamlet and the cavatina "Ah fOrs lui,"
from "Travlata." When she first made her appear.
ance she received such an enthusiastic reception az
rarelyfalls to the lot OF any artist and flowers from
the huge pyramid down to the tiny nosegay. were
slowered on the STAGE Her dress was of white
corded silk very rich and elegant, and well adapted
to her beautiful, expressive. childlike face
and TALL graceful form. The diamonds which
cleaned in her fair hair and nestled around
her swanlike neck lent lustre to her sparkling blue
eyes, her carriage showed the most complete SELF
possession and her whole soul seemed to be wrapped
I'm the music IN utaru nd Of hor
voice is so different from that OF the Italian and
English artists we have been 80 long accustomed to
that when the first notes of the simple, childlike
little air Of Handel fell the feeling OF won.
der at nrst pervaded the audience The
quality OF the voice is extraordinarily clear
ana penetrating; II has none OF the vo-
luptuous r0undncss OF the Italian school,
hut limpidty, delicacy and transparent depth
which Is susceptible OF the most intense expression
and tenderness. This selection from Handel was so
simple and touching that II requires world of soul
and feeling to give II the required interpretation
BY her artless, unaffected rendering Of 1t Nilsson
won at once, not the expressed applause, but what
was higher compliment, the deep attention and
sympathy Of her hearers. The mad scene in "Ham-
let" where the unhappy Uphea bids farewell to the
gay court OF Denmark, was sung and acted with
such mingled abandon, childish gee and sad feeling
avalanche OF applause. But the crowning feature
was the exquisite morceau 'Ah. fors lui,n the
sweetest thing that ever Verdi wrote. 1t Is a love
poem. illustrating the struggle between love and
the consciousness OF being unworthy OF such a
holy passion. The dnddnfir.o. in which the desOla
tion OF the soul OF the unhappy Camille IL poured
forth. was given with an intensity OF passion
and tenderness such as the Operatic and concert
stage has long been stranger to, and the wild,
reckless spirit which Is conveyed In the cabaletta,
''Sempre Libera" in which the Dame aux Camelias
aWaKens 10 sense OF her real position, was u
whirlwind OF mingled despair and gayety This
cavatina Is severe test for any artist. Carlotta
to touch the heart IN IT. other weknown pyfnla
dOnne have skipped over its surface without
sounding Its troubled depths, and 1t remained
for Nilsson 10 bring out Its beauties in their
strongest light. There some present at Stein
way Hall last night who, expecting some wonderful
sensa tiOnal vocal displays from Nilsson, were dis
appointed. They were those who cannot disiin-
gulsh between true art and humbug.oetween the
orsT Nilsson nexer resorts Of the e
inartistic tricks to gain applause. Her
surprised most was the breadth OF tone apparent
In her voice. She rarely displayed It, however, to
its full extent, as we have heard from other artists
sell-abnegat1On Is true proof Of art We can say OF
Christine Nilsson, as was said of Jenny Lind, whomshe
resembles much in her voice and style, that we have
heard an artist VINO makeSa conscience OF her art.
Miss ANNE Louise Cary, contralto from the
Royal Italian opera, London, sang the well known
"Ah! que glOrnO,' from "Senramide." Her voice
IL or the Italian order full, rich and evenly balanced.
and trained TO the highest degree. She responded
TO an encore with beautiful little berceuse, Cra
die Song, which she sung with much expression and
tenderness. She Is one of the most valuable mem
bers OF the Nilsson troupe
BriQnOli was In excellent voice. and did full jus.
tice to the charming rOmanza ia Spia,' by Ardt
The introduction was somewhat marred by mis-
tenor has acquired such strong hold of the airec-
tions OF the public as Brtgno, and his reception
last night evidenced his popularity.
Verger, q French baritone, made most success
fn debut IN the fine romance mon en- lei," from
''Un Bao en- Maschera." The three voices-con-
tralto tenor and barltone-were heard TO rare ad-
vantage In the touching ''Gratias Aginus.n from
Rossnis "Messe SolenneIle. The last time we heard
this trio the voices were by no means well
balanced ana both at the Academy and at
st. Stephens church 1t was fairly BUTCH
ered. The tones OF the voices OF Miss
Cary, Brign0i and Verger blended admirably. and
were tnged with devotional feeling that evidenced
a deep appreciation Of the spirit Of the sublime
wheel was too light ana tlining to be placed on
such a programme and should be left to the opera
to which 1t belongs. II would have been much bet
ter to have selected the immortal quartet from
"Rgoletto" In which those four great artists have
a subject worthy OF their talents
Henri Vieuxtemps, after an absence of years,
made his bow once more before the American
public. His finished, classical style. broad
tone and rare expression have made him
his own works-a ballad. polonaise. Gr'ia largo
and gavotte. Although calmness and sweetness
were YET tile lDpc OF
melancholy and the severity Of the style failed to
kindle enthusiasm IN the audience. The polonase
alone was an exception and gave scope Tor his bril-
llancy OF tone and execution. less class or
compositions would be more grateful in u miscela-
DeOus concert.
Weh played his piano fantasia In 'Faust,r on
which he made such a hit at the matinees at Wal
lacks few years ago. lie plays with all his Old
dash and nervous power, but we missed
much Of the clearness and peary de-
livery 'that formerly characterized his style.
He responded to an encore with fam
tasla on "HOme, Sweet Home" for the left
hand alone, style OF composition which. although
TO give scope for The display OF diglta dexterify,
we would willingly see abolished from the concert
hall.
The orchestra played the overtures to 'Oberon"
and ''The Merry Wives OF Windsor IN a rather in
different manner he last song which Mlle Nilsson
sang, an encore. was simple little Swedish air,
which she rendered in such delightful
manner that alter the concert a number OF
her countrymen assembled outside Steinway Hall at
the stage entrance and on ner appearance greeted
her with deafenng applause They then unhar-
messed The horses from her carriage and drew her
to her hotel, accompanied by q crowd OF enthu-
siastic spectators The next concert takes place Oh