New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1873-10-10
MUSIC.
GRAND OPERA HOUsE-LUCIA.

GRAND OPERA H0USE-LUCIA.
Nine. lima di Murska fully confirmed last sight IN
Lucia" the impression she had created on Tuesday
in La Sonnsmbula" Indeed with singer of her
class one opera Is apt to be very much hke
another Leave out of consideration the great
dramatic parts for which she has neither quail
ications nor probably ambition, and everything
else is merely the medium through which she exhib-
its her amazing Vocalzation She does not need tho
chances of display afforded by the ordinary bOUOarG
airs she makes her opportunities in every scene.
from her first entrance to her final exit and does it
without abusing the score and taking unwarrantablo
liberties with the composer. It is the most
thoroughly artistic work of the kind that has
been presented to New York audiences in our time
and it has what does not often belong to mere Vo-
calism, however perfeot-a really magnetic efect.
This is partly owing to the quality of the voice.
which is phenomenally clear and penetrating, and
retains all its purity Of information ana
all It's fleXibity. and it IS partly OWING 10
the fine intelligence of the singer, which
supplies in great measure the defect of passion, 80
that her singing, though it is not sympathetic u
never mechanical. Certainly Nine di Murska sue
ceeds in stimulating quite rs hearty an enthusiasm
az that which awakes at the voice OF Nilsson or OF
Lucca and her success was even more en-
phatic last night than on Tuesday. She had
Tamberlik's voceiwas in no better condition than
on the evening of his debut and Lucia offers no
picturesque and romantic situations like "Poliuto"
to distract critical attention from the primary bS-
ness Of q tenor, which is Of course TO sing.
the house had abundant leisure to remark tho
ruin wrought upon the organ of this famous
artist. There were moments indeed in which the
voice Of his youth seemed to come back to him. ard
we could realize then how how great he must have
been There were passages i'm which he seemed stl
20 be granderth any other tenor now on the stage
But he sometimes failed in his favorite effects.
and the Uibrat0 often got altogether beyond
his control In the "Chi mi frena" quintet
this was especially conspicuous and as it was agra
waited by the believing of the baritone, Sig. Man.
the performance of this number was very far from
agreeable. The wonderful effort, however OF Mime.
di Murska whose voice triumphed in the fortisSimo
passage over tenor baritone and orchestra together
saved the scene and secured for it An encore.
IL may be inferred from what we have already
said that the Ashton was not altogether satisfactory
Sig Mari in fact was much worse in this opera
than be was in Poliuto" that we could hardly be-
Heve him to be the same person who made such a
moderately bad Serero. In addition to a voice rather
tho worse for wear, no develops, as we come to
know him better an extensive variety
of vocal vices, with such an unfortunate physical
vitality that we can never by any possibility lose
sight of them. The long scene at the beginning
of the opera, wherein AshtOH talks over
his family affairs with Raymond (Sig.
BarilD and Norman name withheld, out of
respect to the feelings of his family exasper
atng to the last degree Sig Bussi. who made little
bit of reputation by a creditable assumption Of a
small part on Monday lost 1t all last night by being
one of the very worst Arhurs who ever put on
wedding clothes.