The New York herald., 1874-09-26
A N q S E NJ E N T s.
allack,s.

wailack's.
Mr. Toole VIII appear this evening in drama OF
great interesr. written expressly for him by Mr..
II. j. Byron, entitled "Uncle Dicks Darling" The
play although new to American audiences, has
passed the ordeal OF criticism in London, with
results highly satisfactory both TO author and
actor. Indeed, 1t has been pronounced Mr..
Byron IS best play, and Dick Dolland, the hero Mr..
Toole's happiest e1ort. We do not assert this TO
be tie case, but cite 1T merely to show the pre-
val.ing impression among British journalists. Mr..
Tooies admirable portrayal OF Michael Garner
largely increased his reputation here and he
might, had he so chosen, have proitably extended
1t till the close OF his engagement. But
he preferred to appear in another roie,
and Uncle DICKS Darnngn is the medium
through which he Will finally appeal TO
the sympathies of a New YORK audience. In Lon
don and the provinces the enthusiasm aroused by
his assumption OF Dick Doland was unboupded,
and we have reason to believe that a similar and
GROWING success viii attend him in this city. Mr..
Tolle has steadily gained In popularity with our
people; each new performance has proven the
versa tility and originality OF his qualities and
now. IN the last week OF his engagement, we are
constrained to regret the departure from
midst OF so gifted an actor and so genial and ana
ole u gentleman. Additional interest VIII attach
TO uncle Dicks Darling" from the fact that Mr..
W, X. Floyd, our best and most popular come
appearance this season. Mr.. Fo'd VIII play Hon.
Claude Lorrlmer, character admirably adapted
10 THIS excellent actors capacities At the con.
clusion of Mr.. Tooe's engagement in this city he
goes 70 the Brooklyn Academy OF Music Tor three
nights. commencing Monday, october 8.
Steinway Hall-Opening OF the Concert
Season.
Mr De Vivo opened the regular fall and winter
season OF music last night at Steinway Hall.
There were six solo artists and an accompanst.
The principal feature was Mile. lima di Murska,
the Hungarian prima donna, who has already
been heard here at the Grand Opera House and the
Academy OF Music, under the direction OF Mr.. Max
Maretzek. Last night she sung las per pro-
gramme) the mad scene from Lucia" and varla.
tions on 'The Carnival OF Venice, - with Schu-
bert serenade as the first encore We shall speak
OF The programme in detail. An orchestra, twenty
strong, under the direction OF Mr. Neuendorn,
did what they could with the overture,
ala Gazza Ladra" and, the numbers being small,
the rendering was also OF innnitesimal dlmen-
sons. Then the German tenor, Habelmann, sung
Beethoven's "Adelade," and after him came the
new violoncellist Signor Gaetano Braga. He
played iantasie OF his own, founded on themes
from Tia Sonnambula." His tone and style Of
playing at once attracted attention There Is
velvety softness in the tone and mastery COM
mand in the Interpretation that reveals at once
the presence Of q great artist The violoncello is
not exactly solo instrument calculated to pro-
duce marked Impression In a large hall, yet in
Sgnor Braga's hands, despite the delicacy OF his
style, which made many OF the rapid passages al
most lnaudible, IL was quite enjoyabe. Signor
Braga has pure, cultivated tone, which in a
smaller hall would be attractive in the highest de.
gree.
When the 'celllst had bowed himself OF for the
last time torrent OF acclamaton was let loose
IN the han when Mile. di Mursk made her appear
ance, Significant proof OF her popularity. Her
first selection was not happy one, being no less
than the first scene OF the last act Of 'Lucia"
with twenty in the orchestra and no chorus or ap-
proprate mise en- scene. Her peculiar billties as
a bravura singer, however, mad chance for dis.
play. AS encore she gave Schubert's '.Sere-
made, >" morceoa not well adapted for her style Of
singing. In the second part she sung Benedicts
variations on 1.-The Carnival of yence, entirely
in her line. The extraordinary agility OF voice
and ease OF execution, even in the most trying
terisncs OF Mil Mile ii Mufska's singing, are stil
in her possession. but some OF her upper
nSS Of eec The on
with Braga's oblgato, was entirely out OF her
line Alter Mile. di Murska came Nine. Caneno-
fantasia on Don Juan" by vieuxtemps ana Wo1
mot an effective work by any means). In this, Of
course, the vonist had the greater opportunity IOr
display. The great master OF modern violin htera-
ture, Vieuxtemps, takes the hons share in this
n.
expression and erect one would desire. His tone
was coarse and mechanical and the WORK Iell
without effect, although II gained an encore from
some people IN the hall. The piece played by the
two Instrumental artists, "Alrs EspagnoIs," by
sauret, was better Than Its predecessor.yet devoid
oil warmth or finish. Tue memory OF Wieniawski
Is hard TO Struggle against, and mere correctness
ol style Will hardly sufice after such remarkable
vlolinist
Then came the prince OF bu1os Signor Ferranti,
a artlst and the worthy successor Of Ronconi.
He rlppled through In the vocal sense OF the word
the Neapohtan dance Of Traventi and gave as an
encore the 'Return Of the Dove" by F1oravantl. He
was uneXceptionably an artistic success last
evening. Ater a vain wreste with the Corona
ton Marchn by the twenty instrumentalists Nine.
Carreno.Sauret appeared again and played
Chopin's 'Nocturne" IN nat and her own waltz,
Spring She was toiletted, prooaoy on eccount
OF the "Don Juan" duet, as Donna Anna, and
played with the grace and elegance OF Arabella
Goddard The "Nocturne" was deiiclously cou-
veyed, and the waltz in which there is great deal
OF Chopin, likewise daintily delivered. The
characteristics Of Nine. Carreno- Saurets playing
are and grace-the deficiencies superficlaty
ana want of mower and effective tone. A matinee