The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1874-06-09

The great italian tragedian ToUmaso eAIvmi Do
Ran last night A. this house his farewell engage
ment under the management OF Maurice Grsu.
me audience, though numerous. was not so large
q might be looked for IN view OF the phenomenal
worth OF the actor for certainly In all the years OF
its existence New York has never seen
Dramatic artist 30 truly great. He COM
Dines with the subtest art an electrical
spontanety that thrills through every vein
and forces attention from an audience. So
great is Sne msmetic power OF the man that 1t Is
scarcely necessary to understand the words he
utsers in oreer 10 comprehend the emotion that
sahrs aim. SO wel does he suit the gesture to the
word that his pantomime alone, combined with
powerful FACIAL expression, enable those ignorant
Of the Italian tongue to follow the incidents with
little ditnculty. These qualities, combined with .
striking physique and deciamatory powers OF the
highest order give to his Interpretation OF the IN
'tenser passions vividness and power that at
moments are truly appalling. He never makes the
mistake 80 common among English speaking actors
OF attempting to express passion by mere loadness
OF utterance, but, the contrary, rather lowers
ms tone, and seeks to give concentrated express
sion 10 his thoughts. The actor Is. fact so
merged in the character that 1t is quito possible
20 forget that the passion pictures we look on are
emily felgned. Nothing could exceed the terrific
power OF the scene IN the arena-the irenzied APP
peal OF the unfortunate gladiator TO the heartlesS
DOpulace Tor the lie OF his Child or the nerce de-
nance when his appeal lor mercy was refused This
whole scene an exquisite example 0f the highest
dramatic art. IL Is very difficult to give ample
and powerful expression to the most intense pas
SION without crossing the line which separates
defamation from rant; but Salv1nl possesses that
delicate appreciation OF the due relation OF emo
lions which, when joined to the power OF express
ing them we call dramatic genius. 1t would be
difiicut to decide whether the artist was last
night more successful in depicting the violent
or tender emotions OF the human breast. The
with his daughter were exquisitely touching
and even in the midst OF his anger az sinst his
prosecutors there was exhibited towards her q
manly tenderness which broke through the storm
oil passion Ike sunbeams through riffs In threaten
ing clouds, and all the while there preserved
u most perfect harmony In the conception OF the
character. Signora Piamonti, as Fxusttna, pre-
Bented strong and consistent conception OF the
role. Her defamation Is especially good, and she
has the power OF dramatic expression in degree
we do not often md except with the highest
order OF actresses. Strangely enough the
Italian company that supports Salvtni Is much
better than the English speaking company that
ordinarily holds the boards at this house. II Ii
sincerely to be regretted that the New York public
does not support Salvini as he deserves. As We
nave already noticed, the fact that he declams in
. foreign language need not prevent the public
English speaking tragedian who can at all COM
pare wiJn him. and those who desire to witness a
dramatic performance OF the highest excellence
ought not to omit seeing this artist before his de-
parture for Europe. Tonight he win play for the
1rst time In this country, Maxine Odiot 10 Octave
Feuillet's great play 1.-THE Romance OF Poor
Young Man,