The sun. [volume] (New York [N.Y.]) 1833-1916, 1878-09-22
LNUSEMENTS.


Hooked 10 hear music set to the vcrnacular. and
cared very little for tho cuts" and the reduced
ensemble.
Miss Emma Abbott has now come into the
field. and the interest manifested by the public.
which has crowded into the BROOKLYN Park
Theatre for n week to hear her in " Faust"
THE bohemian Girl" and "Mienon" shows
Enthusiastically that mock turtle" is still tho
real turtle for the masses.
Miss Abbott, who by virtue Of her pluck and
her industry is at present the most conspicuous
OF our native singers. appears TO survive criti-
csm gracefully. She has outgrown the early
indiscrctious ot her managers. and. despite
many disadvantages In circumstance and ex-
uerencc. insists upon being hoard and admired.
Noepocial efforts were made in her behalf by
the cntcrprising Brooklyn manager His an
nounccmcn,s were in behalf OF English opera.
not II Miss Abbott But the result has shown
that there is very strong public interest felt in
behalf Of the young prima donna. and that tho
largo asscmblagcs were made UP Of her ad
mircrs.
Hcrassumption OF Marguerite In an English
version Of Councils Faust" was much the
best OF the three roles furnished by her roper
toiro
Its excellence Of portrayal was spiritual
rather than nscnsuous excellence. She managed
To catch the supernatural significance OF the
part. and thus gave it a meaning which the
lusty performances Of such donnas as Lucca
utterly failed to convey.
/ wondered. while looking at this Marguerite.
II VI iss Ahbot's strength did not all lie in this
direction. aud whethcra any Of her critics would
discover It.
1t was So wholly different from the flush and
vital mpersonutiuus 81 the German and Italian
singers SO entirely woven out Of the ideal ma
] Ill L., go
meanings and beauties that it stood to me for
a creation.
Perhaps in some OF its coloring ii suggested
the hest known Of all our Ndrgu1Hcs-Miss
Kellogg s-for that coloring is OF Il chastc opal
cscent hue. thrown 10y the light Of the intellect
and a virgin Imagination. not by the emotions
But It differed very much from Miss Kellogg's
in the delicate sincerity and naive ardor OF its
meaning.
| never saw Marguerite who excited so much
sympathy Whether Miss Abbott won this
| from US by her art or by her nature 1t is very
difficult TO determine. But in all the sad scenes
Of doserton and remorse she touched the
heart strangely with misery that seemed TO
have withcred and blighted her forever.
Whom recall the sturdy and stalwart Mar
oueritts who have trod the boards like Drum
hilie making Of the life poem a mere sexual
| mus f'ANiu anu N'll INK ltA' WIN NtAA
protest worthy Of the woman with an iron Jaw.
It seems TO ms they could get nothing out Of
Goethe but his animalty.
When recall the slender. palpitatlne form Of
Miss Abbott that seemed all the more fragile
and slender under tho weight OF her misery, n
| misery that grew w in her like a mortal dis
ease and was not laid on like penance. |
thought she must have felt all the spiritual
| significance Of the poem deeply.
Her Iathos at the spinning wheel was the
rathos Of helpless innocence; her pathos at the
altar was the awful pathos Of utter despair
That she conveyed her own feelings With the
grandeur and completeness OF expression that
we have hal in two or three great lyric artists
it would be absurd to claim But that she
caught and firmly held and subty made us
feel the finer interior signiilcances Of the ideal
| Marguerite. / am prepared 10 acknowledge
The point that particularly desire 70 make
with regard to this artist is this-thnt whatever
cxeclenoes she las are not Il the patent stage
order. They must Doe apprehcndcd by the in
telligonce and the sympathy. not 10y conyen-
tioual warrant
We are SO apt TO exact uniformity OF concep
ton from our artists. that excellence which is
departure from it ycry often escapes recogni
ton.
Our capacity TO Judge through our senses IS
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