The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1879-11-29


fering with his knowledge of the verities.
The inevitable room which has been spoken of in
these columns before was again presented. but in
order that it's style might not misead any one. the
infringement considerably inserted the following
lung: London. Zeit l60l." Herr Bojock made the
hit of the evening one of Essex's servants. The
in the third act between Elizabeth and Essex.
i'll which the muscular Queen struck the Earl. was
very we'll DONE and Herr Reinau and Fraulein Irs-
chick were recalled when the curtain fell.
PHILADELPHIA ADJUSTMENTS.
WALNUT STREET THEArRE-EMMA ABBOTT IN
eoUNoD's OPERA OF ''RoMEo AND JULIET"
S.nh.n Iaye Paniine M""psi
Gertrude Nurse Emily GIibsr.
cspSIes H. MseDoaad
r sar w. Tam%s
i r@r,s chases R wssxi
The Duke ...... ................ -. Wallace Temple
Charles .Gounod's grand opera of "Bomeo and
Juliet produced in English for the first time in
the United States at Philadelphia last evening An
attempt was made about 1867. believe to produce
the opera in Italian at benefit performance OF Miss
Minnie Hauk at Boston, but the indifferent care
given by the orchestra to the music. tho want Of
preparation and rehearsal by the artists. the meager
of the and the weakness OF the chorus pre-
vented its success. 1t repeated and the
event has been forgotten. Great interest has at
tached to the production of this opera at the
Walnut Street Theatre and many friends OF
the young prima donna ran over from New York to
be present at the first appearance of Miss Abbott
in the new role. The music. fragmentary parts of
which have been heard in this country various
occasions is thoroughly characteristic Of the style
and movement of the composer Of ''Faust." Not
that there are "reminiscences' of the familiar
opera to be found in "Romeo aud Juliet" but be-
%1,n
theory of musical art-the traditional dramatic
framework Of Shakespeare being altered just
enough to avoid the necessity OF introducing
any situations which in musical treatment would
endanger an anticlimax. The young artistic las
acted wisely in selecting the music of Gounod in
preference to that any OF the four other promi-
nent composers who have treated the tragedy of the
theme by Bellini, Marcheti, Vaccaj. the Marquis
dIvry and Gounod. If memory serves certain
lections Of the opera by yaccaj have been heard
in New York during the past few years,
and the impression produced has not been fatter.
ing. Gounod's is the most ambitious performance
there is grand which outshines the treat
ment of the same situation by Others We refer to
and that she has ntro
ducod the music OF the Marquis dIvry at this point
and sacrificed that Of Gounod which 49, in the face OF
this great opportunity. unpheromenal. The transla-
ton has been made with great care. and only some
slight defects in accentuation, which few hours'
scrutiny OF the libretto would remove, were OBJ
served.
1t be truly said that far popular favor IL
indication Miss Abbott achieved Q triumph last
night. In the little melody in waltz time she carried
the audience by storm, and was literally forced to
repeat it SO that the opera could proceed The duet
in the balcony scene met with favor and had to be
sung again. In this Mr.. Castles business is
very effective, Romeo climbing to the balcony and
sealing himself upon the balustrade Miss Abbott's
browning success OF the evening" both in
singing and acting, achieved in the ''potion
song" of the Marquis d'Ivry. The applause was
long tumultous. Miss Maurel did not fulfil ex-
pectations. One of the gems Of the opera is the
pages "taunting serenade" which brings about the
duet, but she SO slurred it that the audience
did not catch its effect meaning. Miss Abbott
blonde wig, claiming, we believe. that az
Adelina Patti and Lucca present haired Mar
guerite, she with equal dramatic license play Q
blonde Juliet At any rate her woman's Judgment
is not sadly at fault, for light colored
hair becomes her exceedingly. Mr.. Castle is
really quite successful Romeo. The music
is all clearly within the compass OF his voice. and in
the love his acting gives satisfaction. the
hackneyed theory be true that an actor who wishes
to accurately portray death study the faces of
tho dying it goes without saying that q man who
succeeds in the part OF the passionate Romeo must
have been in love. Mr. Castle evidently realizes this
much warmth as Mr.. Compton or any one Of the
stage. He was entirely successful in the serenade
at the opening of the second act. His singing and
acting in the chamber very effective. Mr..
Stoddard evidently considerably hoarse. and
that contributed in great measure to his want Of
MI lie