The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-04-04
A M U s EN- ENTs.

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BOOTHS THEATRE.-We doubt II one person IN
ten even OF those who without beng bothered by
the book, have witnessed ten times the performance
OF the opera of "Rigoleton clearly understands The
horrld plot Tom Taylor's dramatic rendering OF
the dismal story IN the tragedy OF The Fools Re-
yenge,' as performed at Booths last night, makes
1t as PLAIN as 0hello in reducing ii to PLAN English
The play IL very clever transformation OF the
opera, ana It brings It's incredible social atrocities
within range Of belief. In Its costumes scenery,
&C., as usual &C Booths, It Is admirably produced.
The leading characters are Bertuccio tRigoletto)
court Jester, Mr.. Booth; Dell Aquiha, poet, Mr..
Barrett; Manfred; LORD OF Faenza, Mr.. sheridan;
Malatesta, air. Fenno; Fiordel.za, daughter
OF the Jester, Miss blanche Dc Bar; Francesca,
wife Of Manircdi, Miss Bella Pateman: Geneva, wife
OF Malatesta, Miss Teresa Seiden Briglta. Bertuc-
CLOS servant aud duenna over his daughter, Miss
pleely tranamOgrlfed but 10 IL strong character,
charged with revenge and fun Of the caustic and
puneent daboiisms of laso and OF That deep, re-
Is exactly In the line Of Mr.. BOOTHS especial dra-
matte qua ihcations and from the start he makes
complicated tragedy Will be the ending Of his blind
ana credulOus revenge Mr.. Barrett, as the chival-
roHs sentimental taa ana ia, faithful poet 10 80
the confidence Of the unfortunate girl III trusting
herself IN the face OF the greatest hazards and upon
his own protestations. 10 desperate night advcn-
ture under his protection. Mr.. Sheridan ~ Man
fredi, is the cool and daring villain we expect 10
find him. MI. Fenno, as Malatesia, - almost too
good for The roie MISS DE Bar as the heroine of the
story reminds us much OF Jcssca, only she seems
even sweeter character ana u VIII sunlce for the
other ladies In the play TO say that each, within her
sphere, contributed her u proportion to the clcc-
tive rendering Of the representation. The play Is
Ia regularly developed TO the dismal ending. There
was u very large audience present. including some
OF our City Fathers, anu from the reception given
this first performance we ner that therc VIII be as
large house at this evenings repe ltion Of "The
Fools Revenge"
WALLACKs THEATRE.-"The Nervous Man ana
the Man OF Nerve,n Bayle Bernard's mirtn.provok-
ing comedy, was repeated here last night with the
same success which attended its revival on satur.
day evening. Mr.. Gilbert personated exceedingly
well Aspen. the Nervous Man, whose tormcnter
alike in town and in country, McShane, the Man OF
Nerve, a reckless good-humored Irish adventlrer
was represented by Mr.. Brougham in the lnimitable
style by which he has identified himself with tnis
peculiar type of character. Tie dro contrasts be-
tween Aspen and McShane can never have been
c,,nn,t and Mr. Bro,lrhams Rom were rewar,ic1 NV
that hearty laughter which Is the best applause Tor
such roles. Mr. lslnggold was perfect portrait Of
the lOppsh Lord Lounge. Mi. Rockwell was propriety
itself as Captain Burnlsh. MI. flanagan once twice
broke out INTO UNIV onted life and energy Vivian.
Mrs. Seton played Lady Leech with a thorough CON
ception OF tie part. Miss Delan was model OF
landlady as Mrs. Clacketl, and Miss Flora Clayton
ana all thaI was rega ..n 81 Emiy VIVIAN The
q farce which even Mr.. StOddart as Bill Downey,
Mr. Ringgold as tie Hon. Mr.. Frisk Fammer. Mr..
Jem Miller. and Miss Ellie GermOn as Mary ChnLz
could not render lively anu Interesting. farce
which Is both coarse ana dull Is objectionable, and
The best snake up' and acting cannot save II.
SrADT ER-sLOHENGRJN."-Tne first per-
Torrance IN America Of Wagner's opera .'Lohen-
grim was given at the Stadt last night before one
or the largest audiences Of the season. The event.
as it may be considered one. has excited much at
tention and interest In musical circles, and many OF
the most eminent artists in America honored the
occasion by their presence. IT was first heard at
Munich In the year 1861 where 1t was directed by
the composer In person. 1t was afterwards pro-
duccd at Weimar and Berlin and Wagner expc-
renced Immense trouble In the difficulty Of getting
SINGERS capable Of interpreting such diicult music.
The story Is of the most charming OF those
romanl,c legends Of the Middle Ages, In which
Emperor Of Germany and his court make
uD the cast. The story is this:--Elsa OF Brabant
mime. Louise LEGITIMACY ana her brother, Gottfried
were committed TO the care OF FREDERICK of 1era-
mund mr. VieIlncl, by their father before he died.
el and their false guardian, Elsa accused of the
murder OF he.ry0ung brother, who has mysteriously
Il tribunal wen known liz the days or chivalry, and
names as her champion an unknown knight who
has won her heart. Tins proves to be Lohengrn.
drawn by a swan He fights Eriedcrlch and
worsts him, and the curtain falls mag
OF Brabant and the rest OF the imperial army. The
second act opens with the plotting OF the two con-
spIrators, Friedelch and Ortrud-man and VIE
ana they agree TO charge LOhengrin with wllchcratt
They make this charge when the grand bridal pro-
cessiOn is about entering the cathedral but are
ioiled The third act opens with a wedding chorus
followed by duet between the newiy-marriel
couple, which IS Interrupted by an attack made by
the vengefu Friedrich, who Is killed by LOhengrili
The latter then, III the last scene announces his name
and rank, and reveals that he is knight, favored
specially by Heaven. and that he must now leave his
wife the imperial court TO return to his CHOSEN
sanctuary. The swan than has drawn him TO their
shores turns out TO be EisaS lost brother ana the
opera closes with the departure Of Lohcngrln amid
the tears Of the assembled MOBILES Such romantic
tale, as may be seen, gives ample room for every
thing that is grand IN music. The orchestration,
from beginning TO end, Is OF the most magnificent
and effective Kind and far better than what we have
been accustomed to In Wagner's works. The vocal
ensembles and ch0ruses are OF like magnitude, and
there are few pleasing solos, although, az gene
rdl thing, the composer prefers to work out the
story vocay on metaphysical principles ana 10 give
az little melody possible. IL would be Impossible
at TINS late n0ur midnlght, ana after single hear
ing 10 pass definite Judgment on the opera, ana
we shall speak OF the music III detail after another
representation Still our general impression IL that
II Is IN every sense Of the word great work, and
the Instrumentation Is colossal and worthy or the
most earnest attention OF every musician. Tie
INST aud last acts are better than the
second. which Il very tedious. Nine. Iicht-
may, Nine Frederlci and Messrs- llabclmam,
Ncriiag and Franosch deserve great praise
for their admirable impersonation Of tiieir
extremely trying sOics. No more difficult task could
be applied 10 an artists voice than the music OF this
opera. Mr.. NeucndOrf proved himself q conductor
OF rare ability and courage, aud both chorus and
orchestra were lar beyond the usual average But
10 The Mcssrs Rosenberg j. due the highest credit
tor ihelr enterprise ana nneral management In CIV
ing 10 New York this remarkable work, from which
many European Map1esdru have sDfank N dismay.
Musical and Theatrical Notcs.l
Florence, the comedian, who contemplates giving