The daily dispatch. [volume] (Richmond [Va.]) 1850-1884, 1880-04-09
The Ossere
THE CHIMES OF NORMANDY AT THE rHrArpy-
ROMEO AND JULIET TONIGHT.

6pera during which = couple OF prIma
doaDas sang on alternate evenings, and OBJ
served one another Oh said evenings from
the box consented 10 their use with looks
which Indicated that 6tecr.nails were IN
vented for the special benefit of IL
vals, whether in love or music. In
deed, without this demonstration OF the
iac', most people are under lbe impress
sion that a. good deal OF envy exists
among the" bright particular starsv OF the
operate profession. On last nighr there
was seen lady in the box which The prima
donnas aforesaid had rendered The centre OF
attraction during their engagement. But
ms lady was absorbed IN the singing. and
wore sweet and amiable expression. She
smiled approval at the singers and clapped
Der hands in hearty applause: and every
one who saw honest little Emma Abbott
on Wednesday night knew that her
sweet sorgs interpreted the sentiments
OF ber pure soul and kind heart.
Tonight she will appear in Juliet-the
impnlsive, the imprisoned, the unforu-
nate-and any one who saw her Marguerite
can well understand that her Juliet will be
FAR more Attractive, for there is something
repulsiye, after all, in that strange creation
or Goethe's brain-a woman who has deal
ings with the devil, and who murders her
infant even in tit OF insanity. We confess
to great curiosity TO see Miss Abbott in
Juliet, and feel certain that she will be an
exceptionally good one.
The opera last night was q light one, and
the company made the best OF 1t. Mr.. Cas-
ties place was taken by our own favorite,
Mr.. 1lofl, whose reception by the audience
was very filtiering, but which only sue
ceeded In embarrassing him at first. He
recovered, however. and did very well in
deed IN the part OF Robin More. The Mig.
nonette Of Miss Mary Stone was good. This
lady is a fine actress, and her voice is quite
good enough for the music Of the Chimes OF
Normandy. she was frequently applauded
and eRcOred. a clever little piece OF work
by Miss Stone was The introduction into the
latter port OF the opera OF very difficult
but beautiful ltalian waltz, "Che giOid,"
familiar, doubtless, to many OF the audi
ence, and which she sang beautifully. Her
trilling was admirable and general exc
cutiOn almost faultless. One would never
have imagined from Miss Stones work in The
opera what talent she really posse ssed; but
in the waltz TO which we refer she fairly
asto0ishcd and delighted her audience. Mrs.
Seguin seems out OF place in this opera
Not that her part of Germaine was not
been so accustomed to seeing her In grand
opera that it appears little odd, and jars
upon one 10 have her step down to the
lighter compositions. She is the same IA.
yOrite as ever. Dir. Soddard, As the Mar
qus Of Vile ROi. sang and acted very plea
sanity, very amu,ingIy, in fact. Toe senti-
mental manner in which he looks down
Mrs. Seguin's throat when he makes love
to her is irreslstiby comic, but as we go to
the opera more to laugh than to cry nova
DAYS Il j. all admissible. Don't get angry.
Mr.. StOdGard. You are quite a fayorite
with Us. Mr.. Ryse as Gaspardwas excel
lent; Mr.. TamS as the Sheriff was ditto.
One OF the most striking features Of Miss
Abbotts company is the distinct enunca-
ton of the leading chare3icIc. Even .
person unfamiliar with the words Oh the
opera may sit in the audience, and, with
little difficulty, follow the singer. and
throughout the opera hear every word said
or sung. This is not often the case.
The house continues 70 be crowded. TIE
elite OF the city turn out in their new Sprirg
bopnets and impede the view Of the
adoring young men in the background.
The ladies are lovely: the bonnets are beau-
tiiul if they Qhe bOnnets) were only llt-
tie smaller our happiness would he COM
plcte. We worship lady at the opera with
only feather or flower in her hair. La
dies, please revive that pleasant and becom-
ing fashion. But we have already said
enough OF the Chimes. We may add, how
ever, although other companies have rem
deredj the opera here, it has never before
TO our mind been presented in this city rs
it should be. and that is saying good deal.
Tonight. as we have said, Romeo and
| l.o a
there will be a grand house. 4 st. Louis
paper says Of Miss Abbott's company in
that oDera: 1t was anticipated that Juliet and
Romeo in opera must have several love
duets, and Abbott and Castles grand pas
siOnae love passage in Paul and Virginia
was pointer 10 similar scenes in Romeo
and Juliet. In fact, their previous per-
formance plainly indicated what their Ju-
liet and Romeo scanes must necessarily
be. and the great audience assem-
bled in the glow OF this expectancy.
The recent reputation Of Emma Abbott rs
Juliet was fully sustained by her perform
ance Of last night. She proved her right and
title 10 the lyric role Of Juliet and we know
OF no Opera-snger who could successfully
dispute the part with her. Dramatically, il
is exactly in her way, and the score could
not have been better adapted to her
vocal resources and florid style il it
had been written expressly for her.
There is hint in the musical treatment
that Gounod. having seen Emma Abbott as
Marguerite, might have fitted his Juliet TO
her impassioned and flord style for homo
geneous tOne-lnierpretatiOn Whether or
not the hint was given, the composer hit
the musical conditions best adapted TO the
Interpretation Of the prma donna OF last
night. The music seems to have been
written in the moonlight OF some fairy
land OF love to be sung by true lovers
and sung until they die Of its very
first act is made he occasion for
an aria by Juliet, "Let Ne Live On"
which is replete with all the difficulties
OF bravura mu,ic-trills and runs in stac-
cato, which Emma Abbott surmOunts with
ease, grace, and full effect. The balcony
scene and duet was very handsomely done
by both Juliet and Romeo. II was tender
and warm, and full Of romance. a novel
effect is produced by Romeo's climbing the
balcony aud singing the duo on the
haluster in Juliet's arms. This lus.
ciOus beam OF moonlight was also
redemandcd and repeated. The potion
scene is very strong. both musically
and dramatically, and Emma Abbott rose
10 berfull height IN both respects. Her voice
was beard in its power, and her dramatic
treatment was very fine. After this act sne
received the unusual compliment OF triple
recall before the curtain. There was no
doubt about the grand success OF Emma
Abbott's Juliet and the general brilliancy OF
The opera. The music OF the death scene
is itlv conceived, and was well Interpreted.
william Castle made q model Romeo ID
nnnna,nnce acfi0n nnd lone.