The sun. [volume] (New York [N.Y.]) 1833-1916, 1878-11-16
ADJUSTMENTS.
italian Opera - Lucia di Lammermoor
Madame Gerster's second Appearance.

italian Opern - Lucia d. Lammermoor -
Madame Gerste-'s second Appearance.
1t Is rare that any singer has won her way
so instantly to the warm regard OF our public as
has Madame Gerster. 1t is but her second ap-
pearance. and she is as certainly favorite as
though every one in the house were her per-
sonal friends.
Indeed. the manifestations OF pleasure with
which she was received last evening were OF
the most marked and unusual character APP
plause as a rule is apt TO DO confined to mi
nority. while the great mass Of tho audience.
like Achillcs's men. sit sullen in their
tents" But here tho reverse is tho case.
Every one seemed to participate in the enthu-
siasm OF the OCCASION and Madame Gerster re-
ceived the acknowledgements OF the house from
nearly every hand. And there were many. for
a larger audience than that OF last evening
could hardly assemble within the Academy
Lucia has seldom been as we'll sung hero
as a whole. The cast was in no part weak. II
comprised SlGnor Campsnini. Signor Galassi
the ideal OF the unhappy Lucia. There Is a GER
tain directness and sincerity about her that
makes whatever she does pleasing
Her acting is spontaneous growing naturally
out OF the situation. and her singing is really
the musical expression OF the emotion. The
singing Of some prmH donnas Is quite other
than this. II is something outside OF the
matter in hand. All interest In the dramatic
situation Is laid aside while the singer makes
ever II may be. and then the scene is resumed
and the play proceeds.
But Nine. Gerster subordinates herself TO her
art. Every note that she sings Ia In illustration
not so much Of her own powers rs OF the situa-
6d Sepy a' BUT Is be psihgnS Whe
is kept strictly to Its use as means Of
musical expression, IL, nevertheless. always
tenderness Of sentiment are so conspicuous that
they cannot fail 70 impress even those not spe.
ciAlly musical. SO too the ease and fleXibilty OF
voice the charming yocalization so fluent that no
appearance Of effort IL anywhere seen. the most
elaborate roulddes, the most brilliant drpe0gios;
the most rapid scales being ali rendered with
a quiet ease Of manner. which shows
that Nine re G her se the God Srds and is q
Divine right. OF course. possessing these
qualities. 1t will be readily understood
the mad scene in the third act OF the
opera. The finale OF the second act had
slightly taxed her voice which Is not one OF ex-
ceptional power and not At its best in great en-
semble passages where IL Is the duty OF the
prima donna TO be heard over all the others.
in the, domain whore she is most charming. She
ana voice, eo@poSsd 4 we , not S @Is;
s3ad so %1o like t69 aSs S 'rG the 50 uts uES
Interesting. The instrument had no superior
ity over her voice in smoothness OF execution.
or IN certainty OF lntOnatlon, Wnlle IT, OF course
bore no comparison in sentiment and express
sion. In obedience TO what seemed univer-
| sal desire, the cadenza was repeated.
In fine, Nine. Gerster has made for herself a
distinct and brilliant success. and will be fol-
| lowed with interest by the public through the
| series OF roles In which she will appear.
The other charaeterg last evening were admi-
raby sustained. Mr.. Foil sang with much dis
| In his Arturo, a part. however, which is moi
| specially fitted TO display his qua tiles
| As for Campanni his Ed0drdo was OF the high
est order OF excellence, and in the fourth act he
carried with him the admiration OF the audience
After the opera very pretty ballet was pre-
scented.