The New York herald., 1874-10-03
A M u 8 E NJ ENTS.
italian Opern-Faust.

or all the lyric works that have been produced
within the past quarter OF a century, none has
taken the same hold as the cher pguore OF Gounod
Founded on the immortal creation OF Goethe
although the brettist has INDUCED in many un-
warrantable liberties with the story, and Faust
the title role, occupies but subordinate position
In the opera, yet the characters or Gretchen,
Valentine and Mephistophees are always
charming In the treatment Of the great
French composer. Miss Kellogg occupied for
many years the distinction OF being
the first and only representative OF the
principal role. Then came Nilsson. with her
swee. scandinavian face and AIRY Schefrer pOr-
traiture. and she was recognized the dual
creation OF Goethe and Gounod. Lucca discarded
the conventionaities OF the role. and won dstlnc-
ton In her own novel style OF representation.
The last essayist OF the trying roRe Is Mile. He'll
bron, and she made her true American debut in IL
last night. The cast OF the opera on the occasion
was the owing:-Marguerite, Mile. Heilbron;
Valentine. sisnor Bel Puense; Ps Sepnls.opheiss % ss
lar,ze. The 1rst act, unaccountaby weak and un-
interesting, introduced the tenor ana basso. The
magnificent ideas OF Goethe, representing the
struggle of the old philosopher between duty
and temptation, and the long elaborate argument
o, irc H,s hgnness inr tine are nadeguasey placed
be shewn 10 this act. Signor Carpi was con
ventional and therefore nninteresting. In the
second act, the "kermesse,n 1t Is necessary to \
ADOPT grand mise en- scene and ensemble TO give
tne music proper effect. This was wanting last
night There was the same well known
presentation and nothing more. This scene
may be made grand success, as " achieves In
Paris and as IL never does In New York. The gar
den scene lAct 81 ls the real lyric commence
Inent OF the opera Here Marguerite and Faust
nave an opportunity OF displaying their lyric quail
ties. The "Salve dlmOra" Of Signor Carpt was cor
recty sang-much better. In muslcianly point or
yew than the rendering of his predecessor, NJ
Cap0ul hut 1t lacked the iervor and passion OF the
French tenor, aud did not produce the same effect
tenore r0oust0 is out OF place In such y roe as
tnat or Faust and cannot be expected TO make as
much OF 1t as one OF those 6l6D6s OF te Paris Con-
servatotre that make 1t an especial study. Yet tie
pure Italian voice, on this occasion resembling
tnat OF Campanlnl, more than IN "ATda" proved
TO be, In the musical sense OF the word, entirely
agreeable. Mile. Hebron seems 10 have taken
Nine. Mlolan Carvaho as her model In this re-
The air deS 6yo,sr was exact reproduction OF
the eminent French priMa donna. In the subse-
quent duets with Faust, 'Notte d'Amor" aud 80 !
Slenzlo" Mile Heilor0n sang with degree OF
lervor and expression, and In the concluding aria
oil the scene az the window "Ei mAma,n the tim !
be OF her voice seemed to be too light to give due
maiden's love. The church scene, properly placed /
before the return OF the soldiers, fell nat on ac
count OF the absence OF dramatic surroundings
ana the weakness OF the basso. Sgnor Fiorlnls
voice is not OF the Galore necessary to do justice
to one OF the most trying roles in opera, and his
style OF acting Is exceedingly demonstrate
Gently rendered, and those were the Valentine OF
Sgnor Del Puente and the Siebel OF Miss Cary.
The barytone introduced the celebrated aria
written expressly for Santley, and did 1t iull JUS
tice. The representation last MIC hit may be briefly
summed up as success d'estir,e and Mile. Hebron
acquitted herself as an artistic possessed OF an
OF "e The arspd aad o
season so lar is "Arda" A sacred concert win
be given by this company at the Grand Opera
House on Sunday evening.