Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1872-01-21
F0uR KUsIcAL cELEsRITIEs.



WACHTEL,
A New York correspondent writing
of the great German tenor, who viii
some dag awaken the echoes with his
unmatched voice In our theater or
Opera-hOuse, says, writing Of Watch
tePs second appearance in New YORK:
"On Monday night Wachtel appeared
as EdgardO In DOnizettps Lucia
and brought with him TO the thea
trethe same musical mob which for so
many nights has been answering his
enthusiasm with kindred shouts from
the chest. Everything was null as
usual-boxes, pit, gallery, the dark
corridor which passes for q foyer, and
he audience themselves. Wachtel,
It is needless to say, overlooked. The
entertainment presented the custO.
mary pOIyglOt features. The perform
ancs YVES in German, the lbrettos
were in Italian, and the audience was
largely interpolated with English.
No such EdgardO as Wachtel al be
remembered. VILLAIN was tame In
his earnestness before him. No such
voice ever set DOuizetti's notes vibra-
ting. Lefranc's was more resonant
and purer but 1t was limited. Waeh-
tel's is not. 1t triumphs over the mu
sic with lusty Impotence, and at the
end Of the last act seems to be hungry
for more scores. 1t is useless to speak
of WachtePs pathos of delicaey. That
he can restrain himself occasionally is
obvious ia FRA DiavalO" and "Ihe
T~rovatOre;" but it Is a fettersd We
hemence, not an artistic quiet. The
"Di quella pira" showed his emotion
to be a matter of eXtrinsic art, not of
seen so much voice so often Eelittled
by trickery in its use. The falsettO
is a super1uOus vanity introduced
only to heighten the after-efieet OF the
chest tones, and the shouting SfOTZaRdo
Of his cadeDzas Is too often a mere ex-
hibitiOn Of throat and lung power at
the expense of sentiment and good
taste. Wachtel has beyond all ques-
ton a great voice. Bot the greatness
must often be oppressive to those
hearers who are less for vibration
than for veracity. It's compass Is pro-
digious. When he has reached his
high Q there is a glimpse given of
whole Octayes attainable beyond
which he might mount to had ne
the time. Fortunately he seems new
er to have the time. A sense Of inn
patience is conveyed in nearly all he
does. 1t is not, to be sure, q vulgar
hurrying or sighting on his part, for
WschteI is no ''slOuch;'' but il is the
prineely haste OF a lyric monarch COM
missiORed to sound his natural gifts
to all the world, and with only one
lifetime in which to accL mplish his
purpose. He really has no time to
bother with the fine shades of q char
acter, for those leisurely episodes
which play so exquisite a part in all
art. His the art 10 shout you the out
lines, hingiDg his mastery sketches
in sound as ne COOS. Waebtel Is a
model of animal vigOr, and his voice
owes much Of its effect to this virile
cause. In all his splendid efforts of
vOcalism, force, rapidity, and an IN
conscious organic vehemencs are the
qualities which make him brilliant.
1t is dynamic, not emOtive, success,
Fancy a sineWy TeutOn with the mer-
curial temperament of a French
man and the elasticity Of an Italian,
and you have the man. Pile the vol
utility Of VILLAIN upon the compass of
Lelranc, and add something OF the
largeness OF Salvi anG the affection OF
CapOUl, and you have the voice, The
tremendous momentum of his nature
carries him over every obstacle with
such celebrity that no one Perceives the
jar, and he whirl sucks into its
vortex even those about him as you
have seen a dozen shallOps dancing in
the wake Of a high-pressure steamer,
as il they had some inches of steam in
their own bowels. Wschtel always
sings with a promise OF explOsIOn, and
to the imaginative auditor he must
often seem Ike a steam-Whistle Of the
gods. Hitherto he has converted Ger
man opera into a high-pressure solo
at the Stadt, but now there l. to be a
duet Of voices Gu Saturday night. He
IS 30 leave the prosperous dungeon on
the BOWery, and Join Parepa Rosa in
the hOnOr6d mausOieUm on Four
tenth street. Here will be more
voice than ordinary tympanums have
been fitted TO. The clarion nature OF
the entertainment enters beforehand
into the announcements. That these
two streams which have been gushing
at either end of our art world should
English and the kindred gut
Of German, and blend for once
in a mighty mellihuOUsness of italian
IS matter or no surprise. We only re-
gret that mo q has written a Oy-
opera for the occasion full Of
chest Cs and B fats. Now we think
Of It: 1.-THE T~rovstOre" was writ
.en for 1t, and has been waiting all
.hese years for it.
THE PATTI SISTERS.
The Patti sisters have for several
years divided the interest of the pub
ic in their separate spheres-Adeline
the operate stage, CarlOtta in the
'Oncert-rOom and, occasionally, on
he stsge-with extraordinary success.
born, and members Of an il
ustriOus family Of musicians, they
Inherited, beside exquisite voices, a
are and beautiful instinct for music,
which made singing to them simply
N irresistible impulse Of nature. 1t
s true they received their instruction
n America; but Itsly, the land OF
had given sunshine and warmth
o their voices, and their instruction !
vas impaired by their mother, herself
prims donna of high European rep !
Both commenced their C a I
GERS in New York, and winning their
lrst laurels here, they left to win !
urther hOnors in Europe. Adelina {
vent abroad first, and the news came t
peedily back of her triumPhs in COM ]
with hosts Of great artists I
nd established favOrites. CarlOtta
Ollowed, and being DESTROYS not to t
rench upon the ground already sue. '
essfully occupied by her sister, she :
hose the cOneert-room, and In a day '
ecame its reigning attraction. With z
two months after her first appear. d
nee she had not only sung at fifty
Oneerts with brilliant success, but h
ad been summoned to court to sing .
the Queen Of England, herself +
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