The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1878-01-25
ADJUSTMENTS.


A. the Broadway Theatre last evening Mr. FecnteE
gave performance oil much discussed interpre-
tatiou Of Hamlet During the present week VIC have
had Mr. Booth 10 this part and over IN Brooklyn MI
John Mccullough has given his rendition OF The rofe
L. is therefore hardly possible to avoid comparisons
iu witnessing Mr. Fechtcrs performances In the nrst
place. a. Is well known, he plays Hamlet In
q blond wig and beard and that be Is
Stat" AL OF these things are an Innovation
upon tho conventional idea OF tho appear
uuce OF the Prince OF Denmark. Those who believe
that Hamlet was STAT aud scant OF breath" see IN
Fechtei's rendition OF the character the realization
Of = typs-the type. namely Of the quicS-witted,
serious hgh-thoughtod youth. whose aspirations and
purposes arc borne down by weight OF 100, TOO
solid nesh." 1t is claimed by the believers 10
pale aud thin Hamlet mat the line fat ana o scans
Of BREATH was introduced TO accommodate inc hguro
OF old time actor. This theory we WIN not us
pu.e. II is enough that we have Hamlet VINO nus
Hamlet Booth dark and thin. would NOT 90 long
IN arrivi ng his murderous purpose; out .nis a
matter .ntie Tor ana!yss 10 the snort space ae-
voted 10 newspaper criticism Mr. Fcchters
Hamlet 10 different from Mr Booths also 10
Known as ibusiness" Mr. Fcchter omils alto.
together The scene with the King at prayer 10 inc
this Hamlet lies at Opheiias feet and toys win mis-
book until players come TO the lines that no has
rven them 10 recie, then he turns upon the guilty
nair ike spirit of outraged justice and revenge
In The sccpo with his mother no while deliver
Ing bis lines, and gives them with glowing effect
verv excellent touch is the holding the por-
TRAIT OF his father toward fhe Queen when she
approaches him alter Inc scene WILD Inc mos.
in detail. Impression OF the piece as whole gave
still greater proof OF his nimitablo genius Clearing
away ali stagness and artHcality from the mpsrson.
ation made his audience think Of Shakespeare, and
not OF tho or of the ACTOR Mr.. warde's Laerses
ssas9 's' In. ar part A's psiesus mo
voice that sounded as though cbokod by his cotton
beard. Mr. Leakc impressive ghost as Tar as
roae stous hm tho eject OF 10
start out II race NJ ss JEFFREY s-Lewis was not
tho ideal Ophelia but as Ophcas 50 was not SO oso.
we'll costomcd Queen, but not what we look ior IN
the part. Tue the cast does not call for any
mention. dr. Fechter was called out at the sno OF
each act.
Mr. MCCULLOUGH AS sPARrACUs.
Tho New Park Theatre excessively crowded last
evening at the representation OF tho tragedy Of 'The
Gladiator" Mr.. Mccullough in Spartacus has no OPP
,ortunity to exhibit the lul strength Of his genius
II Is a muscular part, and presents the tragedan
with u chance Tor effective physical display. such
chance, however. Mr. Mccullough always improves to
the III most. In The scene where the despair OF his
spirit breaks forth under the tdines OF absolute ruin
no aroused the audence to enthusiasm. The support
was poor, only exception being Mr.. Gossn, who,
rs PnasaTu In describing the nocturnal scene OF the
crucihsd gladiators, made the spoken horrors seem
called.
sTEINwAY HALL-THEoDoRE THOMAS THIRD
REHEARSAL.
Although q smaller audience than usual attended
tho performance oil Thomas orchestra yesterday af-
ternoon at SIeinway Hall the occasion was rich In
musical enjoy mcnt. The programme consisted OF the
following selections:-Symphony, fat H. Adagio-
Allegro spirito; 2 Andante; g. Menustto; 4 Allegro
Gan A Hapu, Eroo
ner; overture ..Bride of Messina." Schumanu; SYM
phony, No. T. In A, op. 92 Il. POGO sostenuto -vivace
q Aliegretto; B. Presto; L. Allegro con brio Bee.h-
ovcn
The work OF Thomas is always welI DONE He may
lack the of times in his selection OF that
which most adapted to the pleasure Of the American
ear hatever he chooses Is INTEL ccual eevatiag
ana Instructive His orchestra trained to repre-.
the incest effects aud II There DO fault It Is
cssonay the severity OF the music which they
required TO Interpret. The feature OF tho rehearsal
yesterday WAS Beethoven's symphony No. (opus 92,
which written by tho great composer the early
10 December, 1918, at . concert undertaken BY
Nalzel for the benefit Of the soldiers wounded
and Bavarian armies endeavorsd TO cut on Napoeons
retreat from LEIPZIG Many OF The most famous must.
clans and composers OF the day appeared the occa
sion, and the OF the concert Is described
something extraordinary. Beethoven was SO much
eraAcd that he wrote letter OF thanks to all OF the
performers II Is the only one OF his nine symphonies
for which the great poser chose the kev OF A,
key, in TACT, which seems to have been purposely
avoided by musical writers. Beethoven, however.
has produced II wonderfully grand and impressive
movement, ana, IRON beginning 10 end, the symphony
Is replctc with beauty There striking contrasts
the harmony, sudden changes IRON tho forte to tho
panissmo, ana u romantic treatment OF his subject
that seems almost weird Ia It's effects, so that, taken
u whole, the true intellectual lover OF classical
cannot TAIL 10 enjoy what IL really noble poem
set TO music. The applause that waits on such
great work OF art but partially expresses the reserved
and latent feeling that fingers every musical hear.
for there are no means OF giving utterance to tho
emotions which II generates.