The New York herald., 1870-07-24
Lyrque hint as to the rising Of this bright patti


talent when the warrant OF It is undenable. M.
Carvalho took wartel's advice. Mile. Nilsson ac-
cepted an engagement to appear In "vioetta," a
French translation OF 'Ia Trayata,n on the 2lth Of
October, 1864.
She was now eighteen years of age; fair,
slender. graceful In carriage, amiable In features;
with the light blue eyes of the scandinavian race
AS the curtain rose the audience were aware OF an
unaccustomed apparltion; Violetta gentle and
dgnined rather than passionate, displaying grace
instead OF sensuous languors innocence In the place
OF recklessness The traits OF Mile. Nsson's per
formance OF this character are now OF European
notorcty; but 1t was new to the French audience II
1854. They were little prepared for the novel rem
derng. succession OF dark, Southern, warm
blooded cantarfct had portrayed the Lady OF thu
Camellias as an amorous voluptuous seductive sor
OF Clrce, tribe dissolue, not TO say vulgar. Herr
was wide departure from the traditional g0a: Vio
etta shorn OF her naughtiness, Voletta with fall
hair, light blue eyes. calm brow; full OF love- but
love consistent with sef-sacrilce; not tho Syba-
rite passion OF previous Trayatas something very
different and much more agreeable to contemplate.
1t was the idealzatlon Of unsanctioned deyotion
and the sptrtels French recognized the subtlety OF
the conception and applauded TO the echo The
new rendering accorded perfectly with the fresh,
clear beautlfui voice. Both were pure unsirained,
highest outcome or art. since It proves that in the
cultivation 0fprt the purity OF nature is not forgot
ten s.s+|
The Swedish diva has widely improved on that
first performance, with the practice that makes per-
feet But the personatlon even then was great
enough to arouse n considerable sensation in Paris.
The critics discovered new genus-an artist who's
dramatic power was worthy OF her bright soprano
voice ana thorough STYLE The press burst into
euloSum. The said MOniteav Unirersel headed
the acclamatons. ''She has transitions" exclaimed
the critic OF the Montceur, (Which resemble the
murmurs Of the Infinite; at times her songs fall
from patriclan lips like phrases lowy uttered by a
duchess Of the olden time. Her sigh is melody,
her breath q caress. If she interprets Verdi thus
how would she sing Mozart ?"
Never hos death,'' wrote M. Nestor Roqueplan In
the Co,astftuton'ae, presented itself in softer and
more touching guso than under the young features
and with the sweet voice OF the new singer. The
repugnant reality OF this agony was, as It were,
yelled and localized under poetic film. voIetta
did not die, she seemed to dissolve In melodious
atmospheric
With the due allowance made to the fervor OF
French writer's, always exalted when their sympa-
thes are strongly aroused nobody viii contest the
justness OF the criticism. Later years. indeed, have
verified 1t in the ampest manner.
'DON JUAN'-"DlE ZAUBERFIOrE."
The speculation OF the critic OF the Aonitear was
destined to be ratified. In Verdi Mile. Nilsson had
matrculated; in Mozart she subsequently took
her lyrical degree. The music OF Mozart was, after
all, the testpoinr, and the opportunity of showing
how the young Swedish artist could sing the "Don
Giovann' music and the exceptional role OF Astra.
fanmante In "Die Zaubernoten was soon afforded.
M Carvaho, the manager Of the Lyrique. enjoyed
the reputation OF making known to the Parisians
from time to tme the beauties of MoZart's MASTER
pieces. The possession OF SO excellent soprano as
Mile Nilsson decided him to repeat the experiment.
with all lavshness In the matter OF cast and scenic
accessory. "Don Juan" (at the Lyrique French
adaptations Of opera are perrOrmed) should be his
first essay.
The newly accorded liberty Of the theatres IA.
yored the attempt Under the OLD system OF privi-
ege certain theatres were limited to certain range
Of the drama. "Don JUAN" for example, could be
played only at the Academic Imperiale de la Musique
a patent house. There 1t had been produced had
been played. like Gluck's "Alceste" some six weeks
or two months and had been quietly sheived sine de.
Mozart's glorious music voted old and exploded
of lttle value save to decorate the library Of some
musical archeologst fond Of amassing lyrical anti
quities. ala ci Darem' and '.I MILO Dessoro" were
dead as the Doges and ab0ut az interesting.
In addition to the various obstacles In the way OF
reviyng taste for Mozart obstacles arising from
Partisan ignorance and prejudice-there had always
been the difficulty Of finding Queen OF Night for
thc composers other masterpiece, the "zauber-
nJte" The music OF this character is written with
inordnately high notes. the frequent use OF the in
at debars most sopranl from undertaking the r0le.
Singers there have been-like Mile Carlotta Patti
able to reach these notes with sufficient case; but
such singers are as often destitute OF the dramatic
qualifications demanded by the part.
NJ. CarvahO thought he had obtained soprano
equally competent In the histrionic and vocal re-
qulrements OF the role, and determined to produce
"Don Juan" tentatively, with "Die ZaubernJten
translated into LA Finite Enchantee' in reserve.
The result proved that he had underrated his re-
sources. Mile. Nilsson he cast for the part OF Donna
Elvlra; Nine. Nolan -CarvahO, his wife, undertook
zerlina; Nine. Charton-Demeur Donna Anna; and
the parts Of Don JUAN Don Ottavio, Leporello were
RESPECTIVELY assigned to NJ Barre, NJ Michot and M.
tai sasense sechorus was good the scenery @ % iet
nothing to be desired. As q natural consequence,
the issue fulfilled the managers most sangulne ex-
Once more Partisan audiences discovered o new
delight. SO sweet, so tender, SO gracious an Elvra
ment Of Mozarts inspired fancy. a blue eyed spirit
tual presence, whom 1t was Don Juan's backest
iniamy ever to have % w 1wTonged Ana a THIS Ms was the
which but for managers far-sightedness Parisian
dullards might have foregone
The victory was gained; .Don Juan'' became
French subject by terms of naturalization. Mar
secs, Toulouse, Bordeaux, Lille and Rouen fol-
lowed the example OF Paris and mounted the opera.
ONLY the accident OF birth prevented Mozart being
claimed Frenchrnan at once. AS 1t was the
critics were disposed TO quarrel with Germany for
having forestalled them with the composer In re.
venge they triumphed over Sweden In having rob.
bed her OF the artist.
The success OF .sDon Juann paved an even way for
the attempt which M. Carvalh0 had In his mind the
production OF ''Die Zaubern6te." Mounted with
great care and possessed OF the advantage besOwe
upon 1t by such Queen OF Night Nile. Nilsson, Its
reception was ASSURED the moment Astradammante
appeared upon the stage. 1T was q revelation"
wrote one eminent critic Oh the performance; that
voice so splendid virginia., correct, flexible equal
throughout its extent mOdulating thrilling to
inaccessible heghts.n They were not Inaccessible,
since Mile Nilsson attained them, but the license Of
criticism must be understood. Certain IL is that the
marvellous rendering OF Astranammante's two cele-
brated airs, unexamped for dlfrculty, yet easily
conquered by her exceptional gifts, transformed a
into triumph. Stupid as Is .the book" Of the