The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1870-12-06
A NJ q s E M e N rs.


might have justly been The remark OF any one who
scrutinized the numbers and character OF
the audience assembled At NiDo's Garden
last evening. 10 witness In the presentment
OF ShaKspeare's grand tragedy p0rtraying the
loves and s0rrows or the "Moor OF Venice
tue continuance Of the classical dramatic
revival which IL has been our pleasure warmly TO
record for a week past There something alb
soiutely different from the appearance. atmosphere
and lone OF Niblo's, or OF any other theatre the
metropolis at any other time than when
the works OF the immortal master are de-
lineated. The scene seems such occasions
animate with otner grace and peopled with
other forms than at any commoner hour
There IL q flavor Of romance, nush or poetic fresh
ana perfection subtle magic In all these beau
ul creations OF the matchless bard. that give even
to their reality glow OF fairy land and TO their
most ordinary voices an airy melody. The gardens
OF Elsnore the forest OF Arden the quays OF Venice
and the palaces OF Padua and Verona become part OF
our actual surrounding and their inmates live
and breathe with US, ana yet IN magical
many nucd world OF the past, while we listen to
Shakespeare worthily repeated. Moreover wherever
his dramas are gwen the boxes ana the galleries
seem filled with the faces OF the gallant ana the
fair who have laughed and wept at them mere and
elsewhere, In the great ana lr3le theatres OF the
world, for generations past Memory supplies
other audiences and other actors TO sit and
| move beside the real ones and doubles and
multiplics emotions or the instant with endless emo
lions felt by thousands OF other hearts IN other
years. bind artist equal TO his TASK might play
Hamlet or Othclo all alone In the darkened, empty
house and hear the sure response OF shadowy audi
ences-some who sui i've but only remember;
others who VIII never smile weep again. There Is
this inerable spell about Shakespeare, that the
MODEST efforts OF dramatic and poetic genius
| succeeding nm have never attained-an antique
splenuor that outiasts time and ali the change OF
men ana manners.
The public yesterday evening fully felt this and
| BY their rapt. nnnagging attention, instant and
whole-souled response and quiet yet deep express
sons OF intellectual and spiritual pleasure paid pro-
| founder homage to the work than any writ
ten or spoken words could do. Mr.. Walter
MONTGOMERY, In the part OF the Moor-one
has sorey tested the greatest hstrlonlc talent
that rod the stage-acquitted himself with es en-
unexpected power. In the first act, appearing to
| labor under some weakness or constraint he Was
hesiiating and unequal, although his address,
"Most potent grave and reverend sesniors,"
redeemed him; but commencing really 10 I'll hts
role IN the second act, he rose steadily IN excellence
until, IN tho fifth. he left no sceptc the house
| TO deny him the pam OF great artist Mrs. Scott
Slddons in Desdemona was simply enchanting It
IS by far her best serious character Figure,
rage, costume manner, all we're the gentle, trust
ing, innocent yet impassioned and elegant daughter
| OF Venice in The olden timc Mr.. Davenport's Iayo
was magnificent from the first line to the last line,
nns q say IN %
preciatcd, too. 1t was, AZ hearty paudits showed.
Mr. Mark Smith as Brabantc. Madame Ponlsl as
|
| were all excellent The stage properties were IN
fine keeping the set scenes snperb the light and
rich, appropriate. well conducted, good In very
truth this was to lovers or the legitimate
charming comedy Of "As You Like IT, offered in
repetition for this evening" after Its unequaed sue
| the house and insure to the public OF New York
| some hours that they viii not fail tV recall with
| equal profit and delightf
sTADr THEArRE-TASsBAUsER.-w can forgive
truly magnificent music he has left ns In his ''Tann.
hausern The vocal part is the least satisfactory as
in the desire 70 make 1t constantly dramatic, the
Composer the first principle OF melody. He has
| scattered profusely through his work some OF the
loveliest themes that ever entered the head Of a
| musician; but they are disconnected and, In some
| instances, lmpractcabe. The three leading parts
Tannhauser, Wolfram and Elizabeth, Tor the parts
Of Walter and Venus to degree subordi.
nate-are conceived IN the Droadest and grandes
style, but they are entirely trying for human
voice, no matter what the abilities OF the artist
may be. The aria which Is given to the Tannbauser
Tor instance, In the contest OF the MeIs;ersaueer IL
the second act Is destructive TO the fines
tenor voice, although highly dramatic. But
the demonstration or this opera Is, we miphl
say, It's salvation. II IL symphonic In dignity ana
profitable study from beginning to end for any mu-
sican. We ave always found fault with wagners
ideas of the human voice. but the ..1annhauser,,
he tells the story with the instruments alone If,
instead or piling PeliOn upon Ossa' in the eabOra
| ton OF vocal dramatic scene, he would condense
his ideas ana concentrate them upon certain point
| opera would be grand monument or genius. AS
! for the performance at the Stadt last night we
| cheeruly give IT hearty appreciation. Nine. Louise
Licntnay. whs appeared as Elizabeth is ono OF the
best lyric and dramatic Ia very difficult comblnation
a,.es mat has appeared on the New York operate
clear, ringing, sympathetic tone that dramatic
quality which presents before with ielIRe vivid
ness, Lucretla Borgla, Norma or an Elizabeth.
To Mr. Bernard, who undertook the extremely try
ing roe Of rannhauser, all praise Is due. His voice
IL Of the ro0uSto order. but perfectly malleable.
In some OF the scenes II carried the audience along
ana made them forget the actor In the passion tossed
victim OF the venusberg. We cannot say the same
OF Mr.. vierng, who sang the rote OF Wolfram. His
voice Is or the pdsse order and is extremely
treacherous In tene. Habelmann made Walter an
interesting feature In the opera and MISS Roemer In
vested venus with much grace and tenderness
Mr.. Neuendorf lea the orchestra with marked
ability. and won more than Philharmonic hOnors
by dong so. such an opera as ''rannhauser'' Is
terribly exac.ing IN Its Kaleidoscope changes
thirty-hve instruments like obedent spr,tes to
the magic wand OF the Ariel who presided over
orus Of the 'oS Gas W no
this evening, "The Merry Wives OF Windsor, on
WEDNESDAY, with the distinguished contralto Clara
Perl and Mr.. H0lzei In the principal roles, and on
! Friday Mr.. Theodore Habemann takes benefit in
the faverte opera, by Adam, position OF LonIi-
| meau.n The business at the Stadt during TINS sea-
SON has been excellent, and striking proof OF the
disposition OF the Germans in ths CITY to patronize
opera that IL really good
WEBERs PIANO RooMs-SoIREE MUsIcALE-A
very interesting musical soiree, for the benefit OF
the victims OF the war in France, was given last
| evening at Weber's piano warerooms on Fifth
avenue. large audience in attendance.
and Nine. Clara NJ. Brinkerhon soprano; Mile.
Celestine Gottschalk, pianist Miss Tnomp-
son, contra!tc; Nine. Fomeno salcedo violin.
ist; Mr.. 9. Hall, baritone and Mr.. $. p. Warren,
conductor, lent their valuable services for this
! laudable purpose. The programme comprised selec-
tons from Donlzettl, Alard, Gottschalk Meyerbeer
| Balfe, Hauser, GAM, Randegger and Paclni and
was in general very well rendered Miss Gottschak
proved herself an accomplished artist, and did full
justice to her lamented brothers. works II would
SEEM from her playing. that she possesses a con.
| siderable share OF that talent that has made the
name OF Gottschalk known wherever music Is cher
ished and respected.
| THE FAvARGER FRENCH READIsGs.--A most en-