New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1874-03-25
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MIISIO AND THE DRAMA.
MUSIC.
MUSIC. '....,s.. ......'.....
THE WAGNER UNION. gf-
.ood cnnoark IF tha WAGNER Union

The second concert of the Wagner Union
will bs given at steinway Hall tomorrow even
ing and we presume will attract great deal OF atten
ton Mr. Thomas intends to give the beautiful Lohen-
grin Vorspis the Introduction to the "Meistersnger
and the Introduction and Finale from Tristan und
Isoldeo besdc three shorter selections. and his
chestra will also play Beethovens Heroic SYMPHONY %
q tribute to tho memory o: Charles Sumner
Tho New-York Wagner Union founded BY Mr..
Thomas IN September 1871 for the purpose OF promoting
the OF Wagner for the festival performance OF
his Nbeluugen trogy at Bayreuth in 1875. The fee OF
membership IA t2s and the funds derived from this
source and from concerts expended In the pur
chase OF tickets the festival $4,000 having already
boon forwarded to Europe Six months before the per-
formsnce takes place the tickets will 90 distributed by
lot.
LoHENGRIN-MME. NILSSON AS ELSA.
We must honestly say that NissOns persona
ton Of Elsa Monday night greatly surprised u.s. That
she would mako the character graceful and romantic,
act it TO tho ife and present beautiful and radiant
picture OF and purity was almost matter OF
course but she did much more than this She caught
the true flavor OF Waners poetry as II by INTUITION.
The admrer OF the great master would
not have had change the cOorng OF single phrase
or the emphasis OF single word. The most exactins
critic OF the drama could hardly find fault In her aot-
ing, or trace Of negligence or misConcepion Itmay
be that she does not enlist tho sympa'nioS
OF her audience warmly In "Lohengrin" as III
some more familiar operas but this, it be tne lac''
arises from no fault OF hers Elsa is distant legendary
heroine upon the earth as IL she Ola not oe
long to it we charmed by her beauty fascinated
by the mystic melodies which encompass her' oat "o
can hardly feel with her IN sorrow and trouoie' our
emotions, scarcely knowiwhy, go out rather to"aro
Lohengrtn himself, though he is of course more uh
real creation than the Princess OF Braban AS wagner
Elsa such Nilsson unquestonaby represents her
The great technical difficulties with which the part Is
overloaded completely conquered that we utterly
lose sight Of them. The trying intervals are Oil com-
passed certainty and and the strange phrases
flow from her mouth with exquisite meodlous grace
We do believe the music of Elsa has ever been sung
well. and it will be in vain at this day to LOOK TOT
anybody who do it better There are several
effective scenes in which Nilsson makes an extraordi-
nary impression Her prayer just before the ARRIVAL Oh
LOhengrn in the first Act superb her cry OIL mhgieu
10y and wonder when the knight appears
upon river and she throws up her clasped hands In
agony OF rapture her long love duet with Lohengn
In which the changing emotions Of her soul are 80
wildly portrayed and above ALL perhaps her bearing
during terrible last OF ALL while the knight Is
making the disclosure which must separate him rom
her forever-al these will live IN tho memory OF the
audience which fortunate as to attend the per-
Torrance Monday night. But what we admired the
most Nine. Nelson's performance was the forgetu-
moss OF self which seemed TO ennobe aud vtaze IT, 10
an artist who has thoroughly trained amid the vanl
ties and articles Of the Italian stage, and has lived Tor
years in the atmosphere OF applause an opera OF Wag
ners which demands such constant sacrifice or opportu
mites display and concealment OF the very accom-
plishmeuts which chiefly tickle the multitude. must
always be severe school of discipline. The singer who
submits to its requirements Nilsson has done, maui
the highest artistic impulse and the truest feenR
For this oil genuine lovers Of art must hold her In por
petual honor.
The high merit conspicuous in her performance was
noticeable in all the Of the cast-and especially In
the splendid personaton by Sig. Campanini OF which
we shall speak at length hereafter An earnest and In
tegen effort observable in the chorus and orches
ira also and at times magnetic enthusiasm seized
upon the band grander OF the score Inc
opera Of largely cut but the EXCLUSIONS were
judcous nearly all being the same which were made al
Bologna with the composers sanction. The most lm-
portant omissions occur in the address OF the King az
the beginning of the opera in the trying scene between
Orrtld aud Frederick in the second Act nearly nan OF
which Is left OUT in the duet between Elsa and Orua
also shortened nearly one-hst; in the scene ct the
church door; and in the finale OF the opera where
large part OF the music of Lohenn and Elsa has been
sacrificed.