The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1879-12-04
ADJUSTMENTS.
ACADEMY OF MusIc-..LA soNNAMBuLA."


II Conte Rodolfo Del Fasn,i
A,esslo Senor Rinaldin
Lisa -.....--'''' NJ Iahlnche
Amina Mile Marie Marmon
LA sonnambuIa" was given at the Academy OF
Music last evening. Mile. Marie Marimon making
| her first appearance before an American audience
The cast was strong one. the chorus ana orchestra
lent valuable assistance. and altogether. the attend
ing circumstances were favorable to fair and crit
cal judgment of Mr. Mapesons latest addition to his
company.
Mile. Marimon scored positive success. The
success was more popular than artistic. however
that is. though there were abundant reasons for
favorable judgment on Mile. Marimon based or
strict rules of musical criticism the extent OF
the popular demonstrations of approval were
in a due simply to public gratiica
ton, and hardly be accepted ex
act Of the lady's artistic value. HeI
debut was hailed triumph; it was in fact only
most gratifying and emphatic success. She de-
served hearty congratulatons-she received instead
q popular ovation. The house was filed from par
quet to circle. not alone every seat, but
good share Of the standing room
being occupied. The occasion was rather
notable one in certain way. 1t is, more less.
the custom OF American audiences to hurry into
their seats the curtain rises. applaud generously
and often unfortunately. if they pleased and
scramble out of the building just before the curtain
descends Last evening the house was well filled at an
earlier hour than usual; the applause vigorous
but equally judicious; Mile. Marimon was three
times recalled at the end Of the first act but the
finale of the OPERA instead Of rushing from the
the audience held their seats and brought the
debutante four times before the curtain, the
and box circle applauding enthusiastically the in
tensity Of the upper part Of the house can be
s Was the form and extent Of the popa.
lar verdict the artistic partially
not entirely warranted it. But critically popu-
larly considered the answer lies in the direc-
tion the only open question being as to the dimen-
sions as might be termed, of the very pleasant
suit achieved by Mile. Marimon. She made hit,
accepted by the public and may be considered
to have permanently assumed an important place in
Mr.. Maplesons company. and become. being the
latest addition the keystone Of the whole and gen.
orally strengthening it.
To define Nile Marimon's standing by hasty
summary Of her weak and strong points is hardly a
satisfactory method of procedure, her merits
the latter may naturally have assumed
undue proportions consequent on the ner-
aasa % frs:
of last evening it may be said that her voice is not
very powerful but Of good compass. sympathetic
upper registers rather evenly good. though she
depends LARGELY on the upper notes for many of her
brilliant effects She Is good on the staff but above
it her tones are remarkably crisp and clear. One
of the charms of her vocalism is the apparent
with which she sings. During the
most difficult and forid passages there is
comparatively no effort apparent; she to re-
main in absolute rest. beyond opening her throat
and singing. as does bird. There is something
birdlke, too, in her tones. They not volumnous,
but clear and true. She rls and with apparently
the same ease with which she sustans q note, and
the effect OF her repose an absence of all labor
ing her music, greatly enhances the pleasing
effect of Its quality Almost all her solos fairly
loaded with Embellishments. and her precision in
pitch and iexibility of voice enable her go on
evenly through all the vocal difficulties she adds to
the score. Any one absolutely familiar with the
tire will be quite surprised on hearing her
sing to recognize the number of original
and not ineffective additions she has interpolated.
One marked good point in her singing
her voice; not note Of rapid passage is lost-it
may not have great volume but the entire phrase is
heard distinctly. Her rapid and crisp emission OF
notes in such passages sung in the "Come per
sereno exhibits peculiar facility for music of
ticularly lacks is volume and breadth in her
singing in SOstenuto passages. She should
correct faulty manneiisms in her recitatives.
and she should be careful. when adding to the COM
posers work. never to take liberties with the time.
In many passages requiring passionate vocal express
sion she is weak. and there is not--judging from
her efforts last night-a depth and soulful
sess to fit her for broad variety Of
it is well to dwell lightly until another opportunity
is had to judge of their positive limits Mile. Mari
mons success ,t iast evening" IL must DC porne IN
was merely an evidence of what sweet, flexible
voice can do in doing well what it attempts. Her
points were made almost entirely in the forid pas
sages. There was nothing grand about tit was
simply its perfection of finish and in execution
that constituted the pleasant result.
The opening recitative, Scare compagne," in act
first was married by little nervousness and it was
not very effective. The "a tie diletta." however.
passage with prodigality that was mar
vellous; the sustained notes were gwen
with great clearness but little power. In
the cavatina "Come per me sereno" the embellish-
ments on the main theme were sung in sweet
and clear in tone as a canarys. The cadenzas were
all original here, and throughout the arias of the
act, but were singularly good. In the duo Campa-
minis and Mile. Marimon's voices blended most
delightfully."- and the success of the concerted music
instantaneous and unequivocal. The 'Caro dal
di che univs" delivered superbiy. and the
cadenza q marvel of finish and grace-not be-
cause OF its difficulties. but because OF Its perfect
The duo, ..son Geloso," was one of the triumphs
of the evening the passage beginning Per moi
sion of the concerted runs and the delicate shading
Of the phrase. The effect of the finale electric,
and both Canpanini and Mile. Marimon were three
times summoned before the curtain.
The finale of the first act-given as a second act
last evening-only went toerably. It lacked breadth
far as the soprano was concerned, and her Dun
pensiero" was wanting In passion and feel
ing 1t was not tame but unsatisfactory.
compartment were the weakest of the entire opera.
The finale. "Mal rispondi tanto amor was almost
concludes tE Hat. being just taken but nothing
buo Madre. was fairly done, and would
have been good but for little
mannerisms. The final scene preceding
Mile. Marimon's aria, "Ah non credea." ac-
ceptably gone through with. and the aria very
beautifully and gracefully sung the lo son felice
appierio" veritable triumph, and the superbly
executed credenza worthy OF any artist on
the lyric STAGE The closing effort and the bright.
particular success Of the evening. was the
''Ah Non Giunge," which was faultlessly
rendered. II was enthusiastically encorcd
and repeated with most intricate variations,
variations which were executed with astonishing
ease. A perfect storm of applause followed us the
curtain descended.
Mile. Mariinon has at once here entitled herself to
the of being singer OF excellent quality. mar
velious execution and good but not marked dramatic
talent, combined with good stage presence and
manners that arc pleasing though not absolutely
graceful
II cannot tonight be more than passingly noticed
that Signori ard Del Puente did some very
fine work. the former singing in as perfect voice and
with as grand effects ever lo has accomplished
On another occasion II will be more than pleasant "
refer to him and TO the rest of the excellent cast
Mr. Mapleson is to be congratulated. and there Is
no reason now why the season should not go on to
n most brilliant conclusion.