The New York herald., 1876-11-28
AMUSEM ENTS.
srEINwAY HALL-MxR. xssrpoFF.


telle." nwasa musical bouquet worthy 10 be cullcd
from the garden Of Paradise at the gate OF which tho
PERI stood disconsolate. The exquisite embodiment
o fugitive thoughts In the grand "Ballade In which
the entire gamut OF human passion seems 10 be
crowded. found interpreter thai has caught spark
Of the divine hre that glowed In the composers soul
Never before In Stenway Hall have the inlnitesimal
dclicacies the ethereal hucs Of the "Bcrccuse been
conveyed with such subtle art The grand polonasc,
with It's warm life and passion, and the fantastic little
etude played with rare effect. Mime. Esspon
to have the magic key that treasure
chamber OF the Polish composer which Tor q quar-
yer of century SO many panists have vainly en-
deavored to open. The concert opened with the long
trying sonata in A minor. Tor piano and violin, by
Rubinstein IN the four movements OF which the
strong personality OF the composer appears In marked
form The scherzo and andante particularly re-
ceived exquisite treatment at the hands OF Nine.
the caprice fantasiique OF wieniawski compan led
by Mr.. Quicken. On Wednesday evening Nine
Essipon Will play some OF tho Beethoven sona,as
ACADEMY OF MUsIc-aRAND MUSICAL con-
GREss
The incemcnt weather last evening intericrcd sadly
with the attendance at the "Grand Musical Congress
and Centennial Thanksgiving Festival" inauaura,ed
by Mr. James w. Morrissey. The attractions were
numerous, as may DO seen from the following pro-
gramme ~ Unfinished symphony Schubert Thomas
orchestra; Romanza "Mignon, I" Thomas, Mr.. Charles
Frtsch; "Hungarian Fantasia" arranged for
piano and Thomas orchestra, Liszt, Nine
Madeline Schiller and Thomas orchestral
Ballad. Then You'n Remember me" bohemian GirD.
Bale. Signor Brgno; Drinking Song. .Lucrctia
Borgia," Donizest, Miss Anna Drasdi; Airs Ballet
tlrss timel Tschaikowsky, Thomas orchestra; Song
cinderella" Rossin Signor Ferranti; Solo Piano.
sCappiccio." hcndeissohn, Anne. Carreno Sauret AIR
and Variations, Proch, Miss Emma Thursby; Romanxa,
'Love Once Again." Sullivan, Sienor Brignoli; Over
turo, "Tannhauser,n Wagner. Thomas orchestra:
"Nachigesang vogt; b. ''sicilienne," Boccherini;
Thomas orchestra: preghiera barcarole, .'North
ETnm Sbv pinpn eao
"lnvitation TO tho Valse," Weber-rausg, Nine.
Madeline Schiller; quartet, "Reolctto," Verdi, MISS
Emma Thursby, Miss Anna Drasdll MIR. Charles
Fritsch and Sgnor FerrantL
Fifteen pieces, comprising many important works
and interpreted by some OF the most distinguished
artists IN the country form embarrassment OF
riches to even tho most exactng concert goer. The
orchestra was. OF course reproche, and the
piansts played admirably. especially Nine. Carreno
Saure beneath whose nngers tha Mcndessonn
were revealed in oil their beauty Brgnols silvery
voice has lost none OF It's pristine charm, and the
English ballads hc selected II told with great effect
Miss Drasd sang III Segrclo with all the rich power
Of her glorious conrato voice. Miss Ihursby substi
tuted Prochs AR, with variations, for the selection
IRON Pre Clcrcs," Harold which was, oddly
enough, ascribed to Beethoven in the programme Mr.
Frl,sch received MS aria and Fcrranti
exhibited his buiIo singing powers The Ccnerensoa
song On Wednesday evening tho next performance
iakps place.
EDWIN BOOTH IN 1.-THE FooLs REVENGE"
sThc FOOLS Revcngen is play well named for
there is no revenge which is not foolish. Tho passion
which seeks compensation for wrong by nlictng pain
upon the wrongcoer is OF the Of offences
To prove this the moral OF Victor Hugos drama.
The ignoble motive OF the Fool, who would
revenge the injury his own WI had suffered by ac-
complshing the ruin of the wife of her bctrayer is
strongly presented In the play Bertucco in seeking
his revenge by the methods he condemns is
like Samson, who pulled down the pillars of
the temple on his own head. The tragedy illus
tralcs the truth OF Shelley's vcrse--"Revengc
and wrong bring forth their kind, tho foul cubs like
the parents are" ana the play teaches moral lessor
which Is consummated in the death words OF the
Fool, who in the uttcrance OF final curse upon his
worst foe transforms IL to pardon. Tho honor OF this
play is given the English stage TO Tom Taylor
but It belongs to Victor Hugo, who wrote "Lc Io
k'Amuse," rom which both ..The Fools Revenge
and verdis sRgolctta" are adapted.
The Lyccum Theatre had good audience, notwith-
standing the rain. Mr. Booth called out at the
End Of every act Bertucco is character he has not
performed for several years, and told
that be thoush& at one time OF abandoning
IL entirely, - difficult Is tho performance
and so painful the impression. Tho only
apologies lor this exhibition OF physical mental
deormity the wrong that Bcrtuccio has suffered,
The love he displays FOR his daughter the nagnannisy
he reveals at the end, and tho opportunity
which the strong contrasts afford tho artist
Bertuccio IS like Shylock, being 10 be at
Christians SO Bertuccio hated The mobiles Each mad
personal revenge, which became great that wns
not satisfied with the individual offender but included
his whole class Defeat both, must always
come TO him who would seek victory vengeance
Edwin Booth played with great power and energy.
hc thrilled the spectators with his splendid passion
his finest scene was perhaps. the interview with the
daughter, in which he dares not tell her OF
his occupation the poor fool, but vaguely con-
ndes TO her that his purpose Is revenge, aud
rchearscs the bitter story of his wrongs Here the
Intensity OF Mr. Booth was marvellous The altcrna-
us n n hal 20
81 the soul between these two spiritual wcighs-were
supcrbiy expressed in both voice and face Al
most hnc yet in different way, was
Bcr,uccio's anicipations OF revenge upon the de-
siroyer OF his domestic peace. which end In his own
ruin. But we were disappointed in the manner in
which Mr. Booth finished TINS second act IL was de-
hccni in rc aud In force This may have bocn
by exhaustion from the preceding sccnes-or the a,t
iuncs of bertuccio are tax upon the physical
strength OF an actor. as the emotions mis- mind
IL might havc been duo to the uncertainty of Mr.
Boolh's moods Al all events he appeared 10 lose tho
opportunity. when tho Fool holds tho ladder and ig-
norant,y assists in the abduction OF his daughter
and exults in the false idea that he has
accomplished the destruction OF his cncmy's
home. Mr. Booth powerful through all the
third act. and was almost too painful the scene
where Bertucco cndeavors to play the fool order
pbain access to his daughter TO save her from the
death to which he has by his folly abandoned her
The lights and shadows OF this due play iost
great extent, IN the general performance. Mr.
Mines Ieyick Is not suited to comedy ana we were
isionshed to find g. fine an actor feeble in his per-
lhe Lord Manircdi. Hardly trace OF Mr.
LeNicAs Itai power WIS W w uiSctFHcu. MT
Frederic Robinson gave manly pcrsonaton OF
Aquilla ul OF vigor and life. but he uvcracted and
ranted much, especially at hs exits,
which arc always effective. IL Mr.. Robinson
would subdue his voice In this character
no would really express more power and
feeling. Clara Jennings VAS satisfactory heroine rs
Fiordcsa, and displayed true sens biity ana neili
gcncc. The habit this actress has of raising her hands
her head or her checks meaningless mannerisin,
which II would be al easy and woli
10 correct Miss Jcnne Carroll was excellent
sort OF Lucrcza Borga, ana Miss Mary Wells was of
course, capital as the humorous old lady. But tho
weight OF the "Fools Revenge upon Mr. Booth,
and s only justice to say that he sustaps the inter-
est the fabulous Atlas is said 10 havo held up the
earth.
BROOKLYN THEATRE.
Ehakcspcare's great tragedy, 'Juus Cnsar |" was
produced last night this house with cast that
ought to command overlooking houses. No one with
claim to culture ought to miss seeing the most Gle.