The New York herald., 1873-10-19
TAMBERLIK.

The Great Tenor I'm Opera and Concert
Signor Tamberlik sang in opera and concert yes
terday at the matinee OF 'I Pouto," at the Grand
Opera House, and at the concert given at the
Church OF the Disciples in the evening. On no
other occasions since his first appearance in this
country did his great talents become apparent.
His rendering OF Donizetti's music was marked
with that artistic finish that seems to be quality
exceedingly scarce on the operatic stage OF to-day
Tamberlik Ii the last OF o noble band Of singers,
who, unbappiy, have no other representatives
at the present time. In him nature and art seem
to have formed partnership and to have moulded
out OF the choicest materials of their vast workshop
q consummate singer, and experience has tem-
pered these materials until perfection, has been
attained. A timd debutanr at the time when
there lived race OF operate Ttans OF whom after
wards he might say, with Eneas, "QuOratns magma
pars Cui," he won his way to the highest pinnacle
of fame in single season. Time has not laid
It's hand heavily on him as to prevent, at the
present day, his hearers from learning what true
art means and what nature in proper subectlon
can do in the lyric world. The principal charm OF
Tamberlik's talents is the utter apnegaton OF SELL
He represents role thoroughly that his
individuality is for the moment lost IN it..
Whether he appears in the white robes of
the Christian martyr, the doublet OF the
son OF Mechtal, the gorgeous raiment
OF the Prophet, the princely attire OF
the Troubadour the barbaric splendor Of the
Moor or the sable garments of the Master of Ra-
venswood, he does not for an instant intrude his
individuality upon the audience. His noble voice
responds to each expression Of emotion or passion
as readily to-day as it did twenty years ago. 1t
may be shorn Of its pristine electric power but
there Is still leaven OF magnetism In Its tones
AS for his school, it is one to which the young
n
lessons. 1t must be a source OF sincere regret to
every lover or music that the shortness Of the sea-
son at the Grand Opera House prevented Signof
Tamberlik from appearing in those roles with
which his name will always be tdentided-Arnoldo,
has been, through circumstances, deprived Of the
opportunity of showing the public Of the metropos
has done it is now our province to discuss.
The opening aria Tor the tenor In "Poliuto," a
e sna
pends upon passionate expression and broad phras-
ing Tor success, was delivered yesterday in q
turning rl OF tn the altar Of Jupiter We're delinea-
With Wit Paulina was was dramatic as W well as musical
success. The beautiful aria .'Sfolgoro divine
the tenderness and devotional spirit that Tamber-
lik gave 1t yesterday. Although this aria and the
grand duo in the last act constitute generally
salient points tor the tenor yet the completeness OF
Tamberlik's art made them only component parts
oil faultless mpersonation. The smallest recita
tive reCelVtu as muCH ALbeutlOu at HIS uduts Ill
this opera he had the valuable assistance OF Nine.
Lucca, OF whose Paulina we have already spoken.
In csncert Signor Tamberlik is no less i'm
pressve than in opera. Last evening. at the
Church Of the Disciples, with Nine. Lucca, Janet,
Wieniawski and Berge, he appeared before a large
audience. He sang the well-known "Cujus AMI
man, from Rossinl's 'Stabat Mater" with a
smoothness, as well as nobility or delivery and
style, a Que regard to the n,ances OF expression
and an intelligbllity OF phrasing that gave
this well worn concert aria a new significance
But In the delightful "Ave Maria" or GOunod he
q xtcfa ohln nh VIC aAm 20 "
suited to his broad, expressive style, and his voice
seemed TO be aname with its old power, as. buoyed
I'D by the obgato of Wieniawski's violin, IL rang
out in trumpet tones. The value OF Slgnor Tam
berik's art cannot be overestimated 1t
unlocks hidden treasures in an opera Of whose
existence many experienced habitues have no idea,
tones down certain rough elements in a role, gild5
and ireshens the most striking airs and situations
and paints harmonious picture, not an incongru-
Gus mass. The autumn OF his voice Is more de-
lghtlu than the midsummer OF his successors. His
art prevents him from aiming at individual effects,
and yet he is a tenor distinguished tor effect Ef-
feet with him. however is the natural sequence OF
conscientious art, and forms necessary ornament
in harmonious lyric structure.