The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1879-10-28
ADJUSTMENTS.
or MusIc-cARMEN.


Eseamo Toreador) sgnor Del puente
II sdd ssirnor iraxa
Miehssia Nile Aiwina vsiieria
Mercedes -. Nine Lablache
Carmen "a gypsy Nine Doisro
Carmen" produced last evening at the
Academy of Music before audience that was large
and fashionable and which had been attracted by the
double announcement of the popular opera and OF
the frst appearance in New York of Nine. Selma
Doaro. AS the lady has transatlantic reputation
not very generally known in New York, 1t may be
well to refer to it before passing judgment on her
performance last night. knowledge of her stage
career will qualify. in measure. the criticism OF
her merits IN Italian opera.
Afme Selma Dolaros early studies were con-
Quoted by tho famous Italian teacher Salvini. and
later she became pupil in the Paris Conservatory.
She did not appear in public until after her
marriage, when she secured an opening in Lon
don. where. since. she has followed her profession
On the introduction Of opera boufe into England by
the Mansells in 1870. "Chiperic" was produced
at the Lyceum with Mme& Polare as the Spanish
Princess. Later she playeti1'Fredegonde in the
same opera. and Marguerite in Z" Little Faust at
the Holborn In 1873 she was cast as the Princess
in the opera, "Fleur de Lys." and in the same
year she was singing at the Philharmonic
in ''Geneyieve do Brabant" and Tampa" She
the original Clairette in England. and fol-
lowing 1t with other became tho manager
of the little Royalty Theatre. in Dean street, where
she produced ia Perichole" and where Gilbert and
Sullivan were first introduced to the pub
lie in "Trial by Jury" Though "the lit
tie in Dean street. became popular.
Nine. Dolaro was ambitious of appearing
in "Carmen," and succeeded in securing appear
ances under both Carl Rosa's and Mapleson's drec-
rnla din of hara ,Narian
abroad. tho merits of last nights performance can
better be estimated.
Mr,e. TrebelH and Miss Hauk the leading
Carmens known to European and American
audiences. Mme Dolaro's impersonation differs
from them both. having moro abandon than
the one and more gloomy intensity than the other.
1t lacks the wild impetuosity of the gypsy girl. if
rule of nature is applied in Judgment. 1t possesses
picturesq ueness aud power of fascination that
makes it an extremely pretty stage picture II
i asas'' Nine. Dolsros long experience makes
her thoroughly at homo on the stage and
she brings to her ard all the art necessary to
acter. 1t is consistent If it is not broad and it
is fairly outlined if not filed out in detail.
She is evidently most refined in her ideal
ization, and reflects it in her treatment Of
tho part. nothing being done that makes the
character offensive one in look gesture. To
those who accustomed to the Carmen Of Miss
Hauk the Carmen of last night may seem tame but
it interesting in its way as that Of last year.
and quietly won the audience by its charm Of
fnement, II it failed to earn applause for its dash
and vim.
more '-snap about it. but might have then been less
artistic aud finished. 1t was not the real the rugged
gypsy girl, but ideal, pretty Carmen. Musically
| Il was treated in much the same way. and the
| lack of strong coloring was equally noticeable.
degree Of moinentsry but not intense passion, but
| the voice lacked volume, though 1t possessed
FAIR OF wss m
compass. though its range was nearly sufficient for
the part. Everything in fact was qualified led
| hands of the prima donna; the voices, the accom-
panying Instruments. the very lights. all were
and Carmen was sung mildly. it were
| prsttily. but not forcibly. and thoroughly
the Of old SPAIN 1ss
generally graceful series of tableaux rather than
brilliant dramatic action. the exceptions being the
| panni and Del Puente whose spirited acting and
vocalization were more than effective.
| In tho duel scene they enthusiastically ap-
plsutlsd. Both sgnor Campanini's and Mme Do
aros acting in the finale of the third and fourth acts
was most admirable and in general and in detail
| most thoroughly creditable.
| In reviewing Nine Dolaro's acting we have ndi-
Gated the effect il not the quality. Of her voice. 1t
is sweet and sympathetic, and moderately hex-
ible. 1t Is mezzo soprano rather than
ut t sne ia0S Sss the ouav Of va sono diff
nized in contralto. but lacks the low notes. which
obliges the emitting Of the score as for instance. in
1 which below the staff transposed in singing.
| In the upper register there is soprano
quality. but the high notes weaken unexpectedly.
| There Is richness of quality in tho
| voice. though the lack of volume is
| serious drawback. all hne effects in
musical climax being an impossibility where there
| is vocal strength There is abundant evidence Of
| good schooling, and the phrasing mainly OF
good quality, defects being infrequent and slight.
| Nine. Dolaro may be put down as pleasing rather
than brilliant. finished rather than great. She
rather by grace than dash, and was, all things
sdered success so far as singer OF limited vocal
| strength successful in Italian opera in o
| building such the Academy OF Music.
OF Nine. Valera and the cast say little at
| this late hour of writing further than to mention
| their pleasantly contributing to tho
| ing's performance.