New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1879-07-21


which we recall so fondly at home. There were the
same sparkling eyes and dehcately moulded fea-
lures. The same pretty curves played about the
lips. The figure always so trim and graceful,
little altered-merey developed to its mature pro-
horizons 1t wac only the went ON that one
realized in what respect Patti had changed. In
feature and figure she has changed, just az
the bud grows into the perfect / was rather
clad than otherwise 20 find that she did not identify
herself at all with the SeLika Of the drama. 1t
was much plsasauter to the Patti of
our dreams than 20 look upon Meyerbeers
African. When the dark princess cast up
on the royal council of Portugal what
meant for look of proud defiance. and stalked ma
jesticay away TO prison. think | smiled and said
to myself, 4" You pretty thing you don't mean
bit of that, and You know you can't look as if you
did" few phrases were enough 10 show that so
far as the techncalites of art concerned Patti
has made herself one of the greatest singers of the
century nor DID it take long discover that if the
quality of her voice has been somewhat modified, it
is nevertheless a voice of the rarest and most pre-
eious quality. And yet feeling of disappointment
soon began TO invade the listeners breast. There
was an undeniabe lack of power as well ~ of pas
sion. In the ensembles Sclika entirely over
whelmed the IRe- of Nile VALERIE "a young and
prepOssessing sOpraDol contributed much more to
the general effect and the evening wore away
the unfitness of Patti portray the strong melo-
dramatic character of the heroine became more and
more painfully conspicuous The coldness Of the
audience toward the prina donna was emphasized
by the cOrdality with which it hailed the magnlh-
cent Ne'ask0 OF the French baritone Lassalle. We
came away conscious that we had been witnesses Of
a conspicuous failure. have since been told that
Patti was very ill--she is martyr TO rheumatic
nd ought moi 10 have ANYTHING that
night But am sure that she ought not TO attempt
SeIiLa at any time. / would gladly spend thrice
what paid for my tickets TO eace the recollection
of that dIspiritng performance. / heard her again
last night this time in " La Traviata." What DIFF
ference There was nothing wanting now. Voice,
splrit action vocal agility sentiment, fire-I found
them all IN far ampleT measure than had ever hoped
for. The phenomenal tlmbre and texIbihty OF
PATHS highest notes have no doubt been impaired
In her younger days she astOnished rs with feats ID
the top register. which she does not attempt now.
But IN giving mp these lighter graces she has ac-
ouired more valuable and substantial powers, esDe-
cially in the use of the middle and lower notes,
wherein alone lie the means of emotional expression
There is no other ght soprano who has such mar
yeuouslv full and musical low register Perhaps her
voice has exchanged some of its old brd-hke sweet
ness for quality which, If less luscious, Is really
more sympathetic. l shall best describe the change
If say that IN ceasng 10 be a phenomenon Patti
has become the most perfectly equipped of living
singers Her Vi0'etta is anything but sensational.
She does not embellIsh the musical text. she does
not make our flesh creep with agony and
horror in the death scene. She does not
rave; she hardly weeps. And yet 1t Is so per-
fect The really great singer T. the one VINO thilHs
Us with great passions. and is fitted only with great
music To know whether Patti IS capable of these
3, h.s.r vrFrl~- of mn .D
more lofty character than either " La THUata or
"L,AfricaIne" Ii she showed a deficiency OF tragic
force in the one, there were parts Of the other in
which she displayed great dramatic power The
look of min cled pride. grief, amazement, indigna-
tion with which she regarded 4ifrCdO when he flung
the money at her feetw not OulY highly effective,
but believe. quite original. 1t was only for mo-
ment and then she fell back crushed and fmutng.
I'll ut all events we can say of Patti, that if she
does not excite US with the magnetism OF genius,
she compes admiration for the most exquisite
art to be found at the present day on any operate
stage. Seeing her as TioIetta / was more than
impressed by the freshness Of those personal charms
which the paint and savage hnery Of Seiika half
concealed But il seems as If could read in the
changed expression Of the face and certain artl-
fatalities Of manner when she is called before the
curtain. the sad story of wrecked and unhappy
life. Nicolini acted with her III both operas He Is
a profoundly uninteresting person.
There is always a crowd at COvent Garden when
PATH sings, and Messrs. eye have other attrac-
ton pow in Jules Massenets spectacular opera, q" Il
Re di Lahore just brought out for the first time IL
England. The composer came over from PaTls 10
superlntend the rehearsals, and went away Deiore
fine first performance II is not inspired music, and
although it Is ceverly written and enriched with
some excellent work for the orchestra, it would be
Ii F.r+ I'm fipan of
setting the splendid professions, the glowing seem
cry. and the picturesque dancing. The text is the
Last EXPRESSION of absurdity striking illustration
of the degradation OF the modern conventional
opera The tenor Is killed at the end Of the second
act and goes to heaven III the thIrd, that he may
there enjoy along with the audience risky an'
highly colored ballet which occupies the whole
act He il then restored to life and dies again at
the close of the evening The heroine of this per-
formance Is Mile. Turolla,-a young and pretty
SOPRANO full of promise, but too immature for
so exacting a part. The tenor, OayarIe suHeIs'
on the contrary from the insgnihcance OF his role.
He is all artist Of merit, but his voice Is hard anu
unsteady. and l was disappointed in him. The
great character of the opera IS the baritone SciHdG
and this part has a magnificent representative IN
NJ. Lassauc. far and away the best operate bari
tone in London not excepting MaureL This noble
rer has a grand and resonant voice, beautlful
style a firm enunciation, dramatic fire, fine taste
and an imposing presence, and London cheers him
with the utmost enthusiasm. As Neiusso, he car
ried of most of the laurels OF the performance OF
the african ," as Sciadia, he monopolized the ap-
plause in the " King of Lahore" There Is a new
French baritone alsO-M. ROudil-in Mr. Maplesons
COMPANY. who has achieved marked success IN
"Rigoletto" and - DIHOrah," but he Is clearly IN
ferior to NJ Lassalle. dramatic artist OIL no slgh1
power he has the wee Of the rt5raio to an extent
which becomes exa-peraJlnG.