New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1881-10-25
MUSIC AND THE DRAMA.
ITALIAN OPERA-FAuST.


Mile. Ferni's performance of NigRon on Friday
evening promised much, while. at the same time,
it left much uncertain that her appearance last
night in the role of Marghoitd in Gounods
Faust" was awaited with far IN
terest than usually attends the second representa-
ton of prma donna, for, rule, singers select
for their debut that character in which they are
most successful, and which displays their most
valuable qualities to the best advantage Mile.
Fernfs idea seems TO have been different. MiJnoR
is role Of such limited range that it hardly gives
scope to the full powers of singer of grand opera,
and, as we had occasion to remark after Mile.
FernPs debut, her performance of it, while
perfectly satisfactory and adequate, had its
chief artistic merit in the reserve and selfrestraint
which she then displayed. 1t excelled as much in
what sheleftundone in what she did On the other
hand, it left behind it that impression of reserved
force which is 20 important and convinced the spec
tator that she could at need display powers of which
her performance at that time gave no idea. This
opinion was justified by her work last night as
Maygheritd. Exception might be taken to her
view of the character of Goethe's heroine.
It was quiet, refined and simple in the
extreme and it might be urged with some JUS
tiee that the more dramatic side Of the role not
sufficiently accentuated. But there can be
no question that, looking at the charac-
ter from Mile. Fernis standpoint, she
brought to it all needful intensity and
dramatic force. Her idea seemed to be to
represent MGrgherita as a plain, simple village
maiden, very tender, but very unherOc, and raking
this view as basis Of criticism, her performance
was well rounded, fnis ed and homogeneous.
IN the details of her mnpersonation she again dis
played those admirable qualities which marked her
rendering of Mgpon. She sang with taste, with
feeling and with extraordinary refinement. This
last, indeed, may be said TO be the most striking
characteristic Of her performance as it
was one Of the most delightful. Sometimes her
musical effects lacked breadth, but this from
the want of great vocal resources. Her voice
is not a phenomenal one naturally, and the
vibratO which seems to be fault Of
her school more than once deprived
her singing of its due effect But within the limita
tons imposed by her voice, what she did was abso-
lutely satisfactory. There never was a fault Of
taste, nor an attempt to do anything beyond
her powers. Her acting was careful,
very intelligent and consistent. and if she
fell behind some of the singers whom we have had
in the past in the emotional quality of her work,
she distinctly eXcelled any OF them In refinement
and delicacy.
The support was excellent Novara's striking per-
Torrance of the part of H6phStOphleS has already
been described in lifting terms Of ADM ration in this
column, and it need only be said Of 1t now that
il has rather gained in power than lost
perfect voice and he has never shown more clearly
what admirable work he can do when he is in the
humor His rendering of the "Salve! dimora," was
admirable in every way. and won the well deserved
testimony of demand for its repetition, Del Puente
sang beautifully Valentine and only Mile. Kalas,
ms Siebei left anything TO be desired, The chorus
showed signs of steady improvement, and the or
chestra, supported by military band upon tho
stage, did capital work.