The New York herald., 1872-10-10

TIVE Fausts end One Marguerite.
Looking at the representation OF Faust" lase
night at the Academy Of Music, entranced by the
magnetism OF Lucca's singing and acting, scene
that took place twenty two years ago was brought
to our recollection. We remember seeing Spohr's
opera OF "Faust" at the Royal Italian Opera,
Covent Garden. in 1860. the occasion being rem
dered specially interesting by the presence Of the
eminent composer, Spohr, who had come over
from Hesse Cassel on purpose to superlntend
Its production and conduct the performances.
Even Costa now Sir MichaeD, temporarily abdi-
Gated his orchestral throne In favor OF the re-
nowned German master, and everything possible
was done to render the opera attractive.
There were musical giants and giantesses on
earth In those days. aud many OF them were then
assembled In London for the season. Among the
vocalists were :-Mesdames Grisi. Jenny Lind.
Persani. Dorus Gras d'Angri, CASTELAR,,
Alboni Mario, Salvi, Tamburini, Carl
Formes, Ronconi, Pischek. Labache, Marini and
Tamberlik. or these (all then in their zenith,
some dead and others so lost In kind OF rsympa
thetic dissolution regards artistic existence that
Rossini's mi Manca Ia voces my voice fails mel,
or the old mems chorus In G0unod's "Faust" are
probably the only pieces In which they could now
be heard to advantage Fancy Tamberlik and Mario
in the first tenor part OF the latter.
From the above toned splendid galaxy the
cast OF SpOhr's "Faustn was selected, Madame
CASTELAR,, Tamberiik, Gorg0 Ronconi and Carl
Formes sustaining the principal characters But
despite the superior beauty OF the music, and tue
applause bestowed upon the lovely baritone aria
'Liebe ist die zarte Bluthe' (Faust is a baritone
in Spohr's opera), the soprano scena 'Ja, ich fih
es treue Mebe )" the fine bass air for Mefsto, and
the witches choruscs the opera failed to take a
the clumsily constructed lbretto and comparatively
small Importance attached to the character OF
Marguerite
| We have glanced at the production of Sp0hrs
| ssFaust" at Covent Garden chiefly to show that
| music alone, however beautiful, will not insure
the success Of an opera in the present age and to
| explain why one Of the greatest OF modern CON-
posers failed In dealing with subject since SO sue
cessfully treated by Monsieur Gounod 1t Is not so
| much to his music that the celebrated French com
poser owes the popularity Of his "Faust as to the
fact that his librettist provided him with leading
| character in the person ofMarguerite which makes
| large demands upon the highest order OF executive
| genius. With an efficient Marguerite, Gounods
"Faust" must always pease with great one Il
excites enthusiasm.
But speaking of Marguerite, her name is legion
In recent article we mentioned all or nearly al
the successful representatives Of that deeply In.
teresting character who have appeared here and
| elsewhere. We spoke OF them comparatively, the
good, the better and the best, and that best is un
| questionably Nine. Pauline Lucca Hers indeed,
Is the only truthful portrayal OF the part according
to the poets idea To say that she does justice tt
M. Gouuod's music would be faint praise, for she
raises 1t into pure atmosphere Of simple truth t
which the composer does not seem to desire Il
soar. She infuses some healthy German life blood
fresh from heart fired by Goethean inspiration
into the veins of the Gallo muse, who improves
under the process
Take for instance the dismal "Es war elm Koenil
| In Thule" with its quaint harm0nies. Why shoul'
the light-hearted German child feel so hopeless
wretched as this mournful ditty, which sounds llk
some ancient Scandinavian death song or an Iris
"keen," seems to implyP Gretchen Is simply dis
turbed In mind. 'Es ist mir so, ich weiss mich
vie" Il feel know not how, says Goethe's crea
tion, and M. Gounod Immediately intonos the sad
dest of chants.
Nine. Lucca however, with more knowledge o
Goethe than M. Gounod, very properly lightens tn
oppressive effect OF this much as possible by sing
ing 1t faster and with much less melancholy expires
sion than the composer intended. The same kim
Of merit belongs to her immensely joyous and th0l
oughly unaffected rendering Of the, "Air des 81
jOux," which rather sOliclts from the singer tn
small graces and pfQuant effects OF the Frenc
opera conaiQue school. Here again Nine. Luce
| cOrTcCts w. uouHou anu suIPdoscS M LIutuiui
ness every other representative Of the character
With Madame Lucca, Marguerite, In fine, is tht
unaduterated child OF nature that Goethe drew
No fine lady, truly, no pOetical visionary. Would
Faust kiss her hand she tells him, ''Sie ist so gar
stlg ist rauh" Ut is so dirty and so rough
Further she relates how at early morn she had t
be at the washing tub, "Und fruh am Tage schoT
am waschtrog stehn." When she loves, nothing
can be more emphatic than the expression OF he
love. Witness the manner in which she take
Faust to her arms and kisses him. exclaimlng
"Bester Mann! Won Herzen lieb ich dich" (Bes
OF men, love thee from my hearty Those who d
not understand Goethe may take this to be coarse
but those who do regard II as the pure and spon
taneous ebulutton OF first love, trusting, truthful
and beautiful.
But in the church scene and the last agonlzin,
interview with Faust the acting and singing 0
No one who has ever seen her In these scenes cal
forget the fOrceful character OF her acting or tn
voice quivering over with real passion. OwinI
to the lllness-a severe one, tOO-Of Mile Sanz. tn
contralto OF Mr.. Maretzek's company, Mile. Frid
de Gebele, o recognized favorite in New York
undertook the role OF Sebel at few hours notice
and made very cOnmendable impersonati0n OF 1t
SgnOr vizZani was taken actually out of sick be,
to play the part Of Faust, and he did not disap
point the expectations Of his manager ne SSis
we could say the same Of Sign0r Sparapani as Val
entin but we cannot. Entire praise is due to tn
by M. Janet, who has SO far proved himself one
the best and most reliable artists OF the entir
troupe. There seems to be something fatal :
operate voices in the present weather, bu
Madame Lucca has so far escaped scot free. He
glorious voice was In first class condition last night
SRA Dlavolo."
RUBINSTEIN.