New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1872-10-03


The performance last night at the Academy
of Music more than fulfilled the brightest expectations
Of those who witnessed Madame IN cas- debut on Mon
day. Not only was the prlna donna better fitted with
her part. but she better supported, aud Faust"
was consequently given with spirit and ofoct which
"LAfricaine" certainly lacked. Madame Lucca's
Margheriiq is unlike the Marguerite Of any
other artist whom stage has seen,-unlike
in personal appearance intellectual comprehension and
musical expression. 1t Is not the gentle and pensive
blonde whom AIy Schefer painted, and whom Gounod
perhaps had chiefly in his mind when he wrote the
beautiful love music Of the Third Act It is much more
Ike che actual Gretchen Of Goethe, simple. rosy, hearty
gr, not very wise, not very romantic not given TO
Tcvcres; who prattles with her lover about common
household topics, and bad grammar, and
Is pleased with trines who is vain child.
but loves with the warm heart Of woman.
TIis is the maid whom Lucca, with her
dark hair, and plump figure and healthy face brings be-
lore us Whom she first upon the stage and re-
ceiyDs Fdufs sauatOn during the Kermesse, she puts
away bis compliment not with the soft disclaimer and
gentle curtscy TO which We arc accustomed in this scene,
but with Of surprise and abrupt rebuff, 30 per
fectly natural that reconcied at once 70 the
innovation. In the Garden scene the peculiaIitics
Of her Interpretation still more marked.
The ballad of the King Thule is given without that
tnge OF sadness which other singers mpar to IT, and If
1t is less sentimental it is true TO lie. The di>cov
cry of the jewels offers opportunity for one Of the
most chara and viyacous bits Of acting, surpas
ing even t@e excellent performance Of Miss Nilsson In
the sceno and the which accompanies the ds
play of the necklace and pendants is poured ont VITA
reckless Joy that Is perfectly inimtGble. IL
is in the love duct, however, that She
departs furhest from the track Of her predecessors She
has comparatively little OF the anguishing tenderness Of
other horoines for her Mdrgheta girl with plenty
Of blood in her veins, and after few moments Of
p1,,
into the passionate enjoyment Of the hour. Tac Iarda
81 ia with her is not revery but rapture and the
closing scene which others invest with so
gentle romanticism is made by Lucca
the occasion for magnificent display Of
intense feeling In the Church she Enees before
the altar with her back the audience never turning
head until the end when she falls sonselcss on the
GROUND IN that attitude. crnncling in the Of
crowd Of wOrshpers and hurredy turning the leaves
Of her prayer-boOk while the SCOTS OF the invisible
tcmpter mngle in her car with the voices OF
the chantcrs, she expresses terror and agony
that almost send o shudder through the house
There was one portion Of Miss Nsson's
acting in this which made, perhaps, more re-
markable impression than anything which Nine. Lucca
does But Lucca's conception of the situation, as IN
deed Of the entire character is undoubtedly the mere
correct, and her performance the more truly artistic
In the prison she again what she has been IN the pre-
vious acts-not an ethereazed sentimentalist, but
woman; and here, at the close, comes her
grandest outburst. in that Joyous, inspriting
song Of the pardOned, who sees heaven opened
and puts away sin and suffering and fear forever. No
one has ever before gwen such glorious voice 10 this tr
umphan' song; no one has grandly displayed the
spirit of Gounod finale. We have said OF Madame
Lucca's action and dramatic conception than Of her
singing because the musical delivery is governed more
or less by her understanding Of the drama. Her
style is in perfect sympathy with the -eAaIacter'
There striving for VOCAL display no special exhibit
ton Of brancy. Everything Is natural and vigorous.
Every note is true ana though there are some why
tones soon forget them in admiration OF the rich
mellow and powerful mezzosoprano voice which adapts
itself so perfectly all tie requirements OF the opera
Madame Lucca, as have already said, was mote
fortunate in her associates night than MONDAY
Sig Vizzani who is probably the handsomest ienor OR
Academy has known, made an excellent fauS' Re IS
young and proposscssing; he seems to have
fine appreciation Of Gounod's poetic spin his
method is admirable, and his voice, though
neither strong nor rich, nor Of much compass, is
agreeable in quality, firm, and even. He is not
a singer TO set the town raving; but ne is much
better artist than Abrugnedo Sonora SAM, the
SiebeI Of the - evening, has good eontraltO
voice Of moderate compass; 1t Is not very nc&iOic,
but in cantable passages 1t is effective ana her style Is
generally sympathetic. The new baritone, Sparapan
who took the role OF Valentine has only Two or three
notes worth speaking Of ~ Jamets McdStofeie is we'll
Known as one of the best we had in this city and it
seemed 10 10 last night effective than ever.
The opera was given with more regard 10 accessories
than "LAfricane" Two important airs were inserted
which GOunod for the opera when 1t was first per
formed in Iondon-an air for Valentine in the second
act taken from the melody tine first part OF the over
ture. and excellent air for Sieoet In the
fourth The Church was striking IN
its arrangement but the representation OF
celebration of mass was offensive and needless irrey
erence which ought to DO repeated Tue choruses
generally bad this part Of the opera, Tar from
showing any improvement is worse than 1t has often
been heretofore singers indeed are numerous and
fairly dressed but they have not learned to sing Mr.
Maretzek was the conductor, and the orchestra was
tolerable.
ANNOUNCEMENTS.
Rubinstein plays at Steinway Hall tonight
and tomorrow night-One more Patti and Mario con
cert will be given In NewYork before the departure OF
the company fonthe West; that Is To take place next
Tuesday Mr.. DAILY Is TO begiu next Sunday his con.
certs the Grand Opera House. with the assistance VI
certain membeps Of Mr.. MATetzeks company