The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1873-09-14

on the American stage than any she has
had stgnor Tommaso Savini has just started
nom Europe for this country, in order to secure
the American verdict upon his enactment Of
shakspeare's greatest tragedies. His ''Otello"
ana "Amleto" win oner an attraction by the side
OF which recollections OF "Maria Stuarda" and
"Medean must pale, for the latter roles are con-
fessedy Insignificant when confronted with those
of the two masterpieces. Ristori and her imper-
sonations remained an enigma to many; Salvini
must perforce be understood through Shak-
speare's words, which are household words from
Maine to Texas. The greatest plays that were
ever written for the stage viii thus be made to as
sumo new life and interest In American eyes. No
small theatrical event indeed.
STUDYING FROM THE STAGE
In the meantime 1t win not be amiss to lay some
thing IN regard to the coming tragedian before the
readers OF the HERALD, according to its invarable
practice OF being the 1rst to enhghten the public
as to the merits or dement's OF those who may
be classed under the head Of public personages.
Before Ristori became celebrated the present
writer was living In Turin, and there assisted at
the performances Of the future queen OF tragedy
during an entire winter at the Carignano Theatre,
where he may say that he first studied the ''beau-
tiful Tuscan tongue" from ner diction. Subse-
quently. In the same, city, at the old Gerbino
Theatre he enjoyed the acting or Ernesto kossi;
and last, though not least, he has had the
tie last ss lew years At Florence and
the latter city during ne recent season at the
Vale Theatre, in February.
FRENCH CRITICS AS CLAIMANTS.
The fame Of an three OF these artists has been
y eyar san 81 the
Alps had they not IN the hrst instance been
stamped with the seal Of appreciation IN Italy;
ant critics IN the Partisan Journals Informed
to as SO Of Dap
tism In Paris" they mad tso Jacto their passports
other nations at liberty to pay unto them the
| tribute Of wreaths and dollars. Nous genons dc
p,fse,, le monde peut eternuer.) Verify, in
the OF fashion in theatrcals as in bonnets; but
Paris could neither adequately appreciate the
| three Italians nor cOnsecrate their fame. This
| was reserved to Italy and America. The United
States did more for Ristori's reputation and pocket
doubtless receive here greater triumph than he
has ever received elsewhere. In 1871 he visited
| ovation; ana yet MOntevideans were not as capa-
| bic as New Workers are OF doing him that quota
Of Justice which ms splendid talent. as dspiayed
| entities him to receive.
| AMERICA THE FINAL JUDGE AND REwARDER.
In no country are merit and talent, IN whatever
line SO sure to meet reward as in this Land oil ours
The foreigner, whether engaged IN opera, drama
or anything else, II only deserving, will certainly
when appearing in our cities, be accorded hos
| pltable welcome and profitable endorsement. In
| this way we claim that the metropolis OF America
is more competent in consecrating art itself than
any osaer country excepting Italy alone, which Is
pc so Srse rhe claim Of the Of
Paris ss Judgment on all that Is artistic in the
world 4 an inadmissble pretension: A people nat
lay cl.. 70 better appreciation OF the true and
the be- ntiul than those VINO are critics in mere
tifclal largon aud who are adopts III sacrificing
substance to the narrowest OF forms.
THE INTERPRETATION OF ''SwEET WILL"
BY the unnitiated out OF Italy no little surprise
has been expressed tnat two Italians, Tcmmaso
salvini and Ernesto Rossi should have achieved
OF shakespeare Both have obtained success in
Othelo and Hamlet unequalled In the present age,
and, perhaps even SURPRISING that historically al
| lowed the greatest tragedians OF England. The
surprise so expressed has been based upon the
very false notion that Shakspeare's philosophy was
OF different school from that OF Italy that 1t re-
nected the cold, nebuious North rather than the
genial. bright south. There are, doubtless, read
nebulosity because they are themselves In a fog in
the matter OF compromising plain IDEAS in PLAIN
writer. Now, in both Hamlet and Othello there is
spread out the immediate play Of human passions,
and these do not vary. from England to Italy and
ptce Versa; in both pieces the oausa reruna. the
great typical craving OF man to "know the reason
why" is vlslD Eo s pos Ta AFTER 1sxsovs
The sympathy Tor the unknown, which the great
tween hs ees has BEEN seized hold Of and natU
ally asslmilated by the two great Italian traged-
ans. He in writing they IN acting, but mold the
stood III Italy, because, as with tue English so with
the Italian race, there has been marked and per-
Italians have had-nOt to mention host OF
others-three great seekers, and who found some.
| thing, too, although not enough TO satisfy them.
Dante, Calico, Columbus discovered unknown
worlds in heaven. earth and hell, and nevertheless
knowledge their craving In the England OF to-day
Livingstone and Baker are modern searchers alter
the secret OF things.
AS Shakspeares ideas are incOmparably true
natural and beautiful so have they been IN q natu.
raj and beautiful manner perceived assifnilated
and rendered by the greatest OF living actors, Sal
VIM. All art IN Italy That may be styled Of the
directed according to the laws of nature, and
hence it s that Italian style has always been
nowned Tor its truth, simplicity ana beauty. Sal
follows the method Of his country in not overstep-
ping or g short o Of sae laws Of the
REALISM" was not supernatural. SUCH men could
| sALvINI's GREAT POWERS.
This much would serve to explain how an Italian
may be found moving on the same track with tue
great AnglO-SaXOn dramatlst-apart the can't on
race, language, climate. But in order that one
particular actor, come from where he may, be as
players and all times it Is Of course indispensable
| that this actor should be endowed with uncommon
natural powers. Such are the powers OF Salvini,
and to appreciate them he must needs be seen at
| his work. Acuteness and strength OF perception
joined to unparalleled nexibihty in reception and
| rendition. are the mainsprings OF his acting. In
these qualities, which make the great actor, he is
| quite without rival He possesses also all the
minor qualities accessories important. Let
it not be inferred for an instant that Savnis play
| is, SO to say, mere skilful mechanism. Into his
| stimulation or imitation Ia breathed the vivifying
spirit Of the highest order OF art and it is only
thus that 1t leaves an indelible impression the
beholder.
HIS APPEARANCE AND ACTING
As an artist he has eminently the charm Of
originality. In personal appearance he is strik-
tngly handsome and dtSttngxe. He pleases at first
! sight, and the more his audience see OF him the
more he fasclnates them He Is youthful looking,
FEATURES his high forehead his eyes piercing black
and remarkable in variety OF expression; ms figure
| well developed and above the average height, at
once give him q decided air OF intelligence and
strength. His gestures on the stage are entirely
| natural, never OF the affected, pose order; HIS
attitudes gracefnl his whole play is sober, concen
| trated and powerful. He Is not mere fitting
| body before the eye OF the spectator but man
| who throws hls whole soul in every utterance
| and movement one earnest and intent
ay, absorbed-in what he does. His natural advan-
| tages stand him in good stead always, but It
i only been fhrOu0h fha clo and q