The New York herald., 1873-10-10

and disheveiled hair and sang the norid music
which abounds in this scene very commercially
and executed her runs and cadenzas with tae
cacy OF tone. But the charm OF intense dramatic
power wanting and vocalization OF q high
order can only be accorded 20 her EFFORTS In this
scene.
The last airs OF the tenor in the opera. EZRA pocs
ara% ne ~ ana IN rsa dsDIsyea the
rich qualities OF his voice, but both Of them he
was strangely cold, lacking In the fervor and pas
sion that they demanded. Donizetti has never
written anything that calls for more dramatic hre
than these two arias. and no voice, however beau
tiiul IL may be, can suflce for want OF soul ON
the part OF the singer In their rendition.
The chorus was admirable, as usual, put Sgnor
Muzio should endeavor TO curp Ine exuDeaaacs o.
too apt TO confound quantity VITA qualigy 0I
tone, and violnsts win saw away and horn blowers
will breathe into their instruments as II eacn was
the archangel's trump. 1t may be an impossibilisy
at the present time outside OF Thomas orchestra
but should like to hear the instrumental depart
ment OF an opera susceptible OF fair degree or
expression. AS Brooklyn cannot furnish an audi
ence SUFFICIENT to compensate for the rranspOrta-
ton of an opera company from the metropolis. Mr..
StraKosch has wisely determined to leave her
operaless for the balance OF the season.
THE MARETZEK COMPANY IN "LUCIA."
Mile. lima di Murska made her second appear
ance at the Grand opera House last night as Lucia
taking the part OF npgardo. The success OF the
opera, which was very great, depended entirely
barytone the rest OF the cast was utterly weak and
inericlent, and the chorus was almost q
useless appendage Mars snsns also
his voice preponderating so completely as to de-
stroy the harmony in the few effective scenes
CURED worthy of mention till after the entrance OF
ID Murska, and 1t was not tlli she sung the
"Quand0 repita In eStasi'' that she gained
thorough appreciation and spontaneous recOgni
ton. In the cadenza at the end OF the first aria
as her singing w e
istics; but its beauty only became apparent as she
advanced % in ne. her part. In the grand duo
sustained Tamberlik's magnificent declama
ton with great enect, enbellishlng his nne
tiles which he lacks, but which are essential to
their completeness. In the ''Sua tomba che
rinserran he again demonstrated that admirable
method which has enabled him to remain the king
OF tenors through so many years.. The blending OF
ID Murskas notes with his as the duo proceeded
was some thing so delicious that we cannot ind
words of praise too warm for its commendation.
1t would have been easy to have rendered tine
great tenor helpless, as we saw him on previous
occasion but, Instead OF gaining triumph over
HIM, Di Murska assisted and upheld him, and gained
the second act was only notable for the mar
riage scene, upon which the curtain falls. the
sestct, "Chi mifrena initial nomenm beginning with
the clear ringing defamation OF Tamberik, not .
word missing the ear, and as 1t proceeded once
more, enriched by Di Murska's friendly and SYM
hearty encore, well earned. rewarded this effort,
and If the scene had closed the opera, as 1t
ttSe''t the triumph would % have ave. been en- considered
complete. Strangely enough, the third act in this
instance added to the interest, because IL was dS-
tinguished by two unusual and exceptional merits.
Di Murska, IN the "mad scene," showed herself
possessed of more than ordinary dramatic power.
Had she not been singer she would have become
an actress of rare merit There was nothing In
her acting out Of harmony either with the music
or the true conception OF the picture which Sir
Walter Scott painted OF the unfortunate Lucy Ash
ton Driven to madness by the success which
attended the persistent efforts OF her brother in
forcing the unwelcome lover upon the poor girl rs
a husband, the denouement is one OF the most
startling In history or in literature, but II Is utterly
without interest in dramatic or lyric form.
Di Murska acts and sings the novelists ideal
into prominence only the inner traits OF the poor
girls sad misfortune. The scene was interrupted
by the presentation to the prima donna OF two
white pigeons, and though Such 0stentatlOuS dis
plays usually detrimental, IN this case 1t was
not so reprehenslbe, for 1t was made to harmonize
more absurd than the exit the composer has con-
trived for the heroine OF the opera.
Signor Tamberik did his finest execution OF the
evening in the "Fra POGO me rtcOverO,n his voice
exhibiting something Of its old power and bringing
back remembrances OF his former gories. This
was the second recompense for the last act OF the
opera. and the. two were well worth what
was lost by the continuation OF the story
after the climax Yves reached. In the
death scene Tamberllk was exceedingly
tender, and In every note he breathed
the true spirit OF the master OF RayenswOOd diving,
since his hate and his love longer had anything
upon which to expend themselves. In rare in
representation with weak cast, and this was one
OF them. Di Murska and Tamberik concentrated
all the interest In themselves and achieved
triumph in spite ofgeneral neficency in orchestra,
chorus and the rest OF the cast.
Nine. Lucca appears tonight in "La Favorita."