The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-03-10
A NJ n 5 E M E n rs.

LvcEuM THEArRs-RIsroRI AS LrcRFrA soaoIA.
= The OLD adage OF giving dog bad name Is weS
exempuhed IN the case Of the Borgia family. VINO
have been selected by Tradition and popular
belief as rue chief promoters OF poisoning. assas.
s!nation, treacbery and other naughtiness typical
or Italian life during the sixteenth century. THIS
Is both an unenviabic and undeseryed promi-
nence accorded TO this family. as they were
no more enlcent adopts IN the above mentioned
practices than the Colonnas OrsiniA Sforzas
or other great houses In tue sunny land during
the delightful period when poisoning WAS one OF
the dne arts. Nay. some historians are rash
enough TO say. and 10 bring forward proofs TOO.
that Lucretia Borgia was rather good Kind OF .
woman, In spite OF her wicked brother and con-
scienceless father Be that as IL may, ft has been
received and VIII be perpetuated as a popular fact
that she was the queen OF poisoners aud the com.
posing draughts that she invented will be a. nrmly
believed in as Tells wonderful craftsmanship.
or the little haIchet episode In the lie OF tho
Father OF nis Country. victor Hugo's tragedy.
which was brought out at the Lyceum last night.
giving Nine. Rlstori an opportunity OF appearing
here for the hrst time IN character the ve:y ee-
ments OF which are tigerlsh in the extreme-a sort
OF medieval Medea-has two powerful scenes:
one In which Lucrezia oegs her husband TO spare
the lie or her unacknowledged son, and the other
IN which. with that sons dagger at her throat
she tells him when too late the secret OF his BIRTH
In both OF these scenes the genius OF Mmo.
Ristori rose TO SURPRISING grandeur Those who
have seen and heard Pasta Grisi and TieUens IN
the opera the dramatic and lyric noretti arc
almost alike 80 lar as the action is con cerned)
Will remember for lifetime the effect OF those
music, the nanan tragedenne Infused into them
such lurld power and terrible effect as one would
the Only d when
tue infuriated Duchess or Ferrara PUSHES
into the presence OF ner husband during tho
third act and with flashing eyes and in indignant
accents pours forth the vials OF her wrath upon
the head OF the unknown insulter who mutilatet
her armorIal bearings and oeamed her, the ira
ditiona Lucrezla Borgia seemed to be embodied
in Nine. Ristorls grand representation The
sparkle OF gratliied vengeance shone la her eyes
when the Duke informed uer that the perpetrator
OF the insult was in his power and TOOK the DATA
that she required that death should be the punish.
ment OF such outrage. The door opens and the
prisoner. her son. stands before ncr. The light dies
out OF ner countenance and q CLASSY stare OF
horror succeeds. Sue totters to chair her fea-
lures work as If In spasm and a lew incOherens
words escape from her qulvering lips. But tho
she rusnes TO the window for air, whispering To
Gennaro as she passes him. mega II iatto." rhs
acknowledges himself to be the cuprit. When
the duca pair are lett alone the guilty
wiles and caressing soften the heart Of ner
husband The claws OF the tlgress are sneathed
aae als a4 and seduc
tive promises, and for time II would seem Is II
nauxnt could resist her. But the wrath OF the
husband proves to oe an impenetrabie barrier.
and he spurns ner and her entreases Then the
cnange takes place. Even while kneeing at MIA
feet the eyes lose their expression OF entreaty
aud tenderness, and the tears seem to leave
the cheek as dried instantly BY ina
naming fire within. The form, no longer sup
plant assumes defiant attitude, and the
low Kissing voice uters the warning, 'Signoe
Luca, Alfonso di Ferrara, MIC quartO maritO |"
But the stern resolution and the wrath or tho
husband cOnQuers the awakened ugreSs and she
becomes weak, helpless woman again. The
poisoning scene that followed was another reve-
latOn OF the greatness OF the tragedienne. Gen.
the Duke, with hooking polteness. leaves
his vile to make her last adieux to
her supposed lover When the mother ana
son are alone and she hurriedy tells MIN the
terrible fate to which her husband has devoted
him, and urges on him the antldote which aOno
can save his lie. the eager haste. frantic appeals
and fierce energy shown 0y the tragedienne were
such as would make one forget the actress IN the
character. The last appeal. "in nome dt tuA
madre," which alone proved e1icaci0us, was
hreathed forth in almost expiring accents and
the curtain fell on the scene OF the mother, even
with the parting curse OF GennarO IN her ears,
standing at tae window through which he es-
capped, ready TO sacrifice her life rather than
suffer his enemies to pursue him. The Lass
scene was another outburst Of that volcanic
gan nature. Such was Ristori's 'LucreziA
Borgia," dramatic creation, terrible and Crane.
fitting companion picture was the Duke OF Fer
rara, by Signor Majeronl very powerful ana
finished impersonatiOn. Signor Ale0ttt made what
might be expected from such an ungrateful pare
improved the general performance, especially In
the last act where che monks acted as II they had
never stage before. "Lucrezla BOrgtA"
WILL be repeated on Thursday.