Public ledger. [volume] (Memphis, Tenn.) 1865-1893, 1881-06-08
wednesday evening. Jane, $. 1851.



The visit of Sienor Rossi, the Ital
ian trsgedian, is likely to be cur mex
dramatic sensation. He will probably
be here in the fall, and though he il
an old man now and long past the
meridian of his powers, our people
will be asked or beguiled into going
into raptures over his wonderful act.
ing; aud what is moro important t.
manager, paying extraVagalt prices
for the privilege OF seeing him tear a
passion into tatters, as depicted in the
following account of his recent ap
pearance in Berlin for the benefit Of
the Chic sufferers. An account OF
the affair says:
The crown prince and the crown
princess, with several of their family,
occupied a side box, while the house,
which is anything but handsome in
itself, was also graced by many of the
leaders of society, not yet set free
from the bonds Of fashion by the de-
parture of the emperor and empress
Tor the south and by the dying state Of
the imperial parliament. The repre-.
sentation, which was introduced by an
appropriate prologue from the pen Of
the editor Of the Kladderadatsch, in
GLIDING three pieees-tbe isrum
scene from Julius Caesar" wherein
Marc Antony was enacted by the dis.
tinguished court player Herr Barony.
the third act of Hamlet, by Signor
Rossi and his troupe; and, finally, q
one act piece entitled "Viennese in
Paris" by Carl Won HOltei. The
forum scene in Julius G;esaf" was
fairly well given, though that ten.
dency to mere defamation, which is
the besetting sin Of German actors.
and is not even wholly banished
from the S~haksperean boards at
Meiningen, threatened now and
then to get the upper hand. a
striking contrast to the somewhat
loud Teutonie artists was presented
by the Italian Talma, who rather, in.
deed, displayed too little robustness in
the passion speeches of his part; but
though suffering from severe cold
he comported himself finely, and wal
several times rapturOusly encored
True to the traditions of the Italian
stage, Signor Rossi interpreted severa
passages in a way rarely, if ever. hat
recourse to in England. In particular
at the line Look up here on thi
picture and on this" Hamlet" die
not direct the attention Of his alright
ed mother to two counterfeit pre- .ent
ments of oil upon the wall; but tearinI
medallion out of his own bosom an,
seizlng hold Of a locket dependin
upon the queens neck, he thus mad
the we'll known comparison, and endel
by crushing under his heel the NINA
ture of his uncle which had a grea
effect on tho spectators.
Again, while lying at the feet {
"0phelia," in the orthodox name
he falls to playing with the lady's far
and still holding it in his hand whe
the king" and "Queen" take frigh
and vanish, emphasizes his revengefu
rage by tearing it unconsciously I
pieces. He does not, however, hin
away the flute which the courtiel
who would fam have played upon th
feelings of the Prince sadly cor
fesses to have no tuneful power thi
is, perhaps, missing an opportunity {
expressing his just contempt for
contemptible feature Of human natur,
Berliners know their Shakespeare f,
we'll as they know their Schiller, an
though probably a very small percen
age Of the house had Y e a noddir
acquaintance with Italian, it followe
every look and gesture Of the illustr
Gus southern actor with keen an
critical interest, and at the end sun
moned him at least six times beioI
the curtain.