National Republican. (Washington City (D.C.)) 1872-1888, 1882-01-10
FoRDjs opERA-HoUSE.
sIGnor ErncAt RCssi Rs "EsnmIct"-IHis
Ftrat AppeproDce In Washington.


There Is always feeding Of uncertainty when
one goes to listen TO m actor speaking n Language
not our own, aud II Is only genius that can rke
above tho drawback Of n foreign tongue and com
pei tie admiration Of an audience. such genius
was Ristori; such is Salvini and such Is RosI.
The play Of Hamlet" Is the most dif.
TO properly interpret upon the stage, ana II Is
mOoted question whether its full beauties can be
p-opcrlc represented by action. ~ there arr oo D.,
the part Of Bawd when the actor has The ad.
vantage Of speaking in the language of his au;
upon one who must deliver the beau ifil
8 lGqucs OF the moody prince in tongue whiCh
can only b. understood by closely following the
lihrCt'n. That task SignOr ROsSi successfully &C.
oJnrlishcd lAst night at Ford Opera. House: His
fame Lad already preceded him and his perform.
aucc fu!ly justified the encomiums that had been
sh wcrcd upon him by the press of other ciic .
His voice is very flexible and relodiGus, fully
capable Of ext rcssing all the varied emotions u at
are brought into play In the IarL His gestioua-
iun IS graceful and natural, thoroughly suited to
the words he utlcrs, AMI his iac i movements IRE
most expressive lie pr, seuts II lem Ct totally diff
fercnt from amy that We have ever s en- before.
BE gives no uncertainty, however, Of his sanity,
showing wherever II was necessary to put m
ante disposition on That IL was merely simulated,
and not emotional insanity" In h Is scene with
Opbe'td he shows his tenderness for her until he
| discovers the King and PoIoujts behind the cur
| tam, md then for II moment he seems tn suspect
OpHiid Ofbeing party to the plot TO entfap MN;
| bul he b0nshcs tiHt Und paris from her win OK
| quisitc tenderness In the scene Of the mock-plny
| there is some new business intrduced WIN
| Ophclid'S fan, which Is made Vcly effective
! the man interest in the y ay, however was III
| the chamber scene with the QutCn. He WAS power
lul In his comparisons of the two ror RATS, lcuucr
aud aicctionnic in his description Of " counter
| felt prc2eutmcnt" of his own father while, when
he described the portrait ni his un1Ic, MS cnnll'
tenunCe showed such contcmrand uathiny That
| when he tore ii RON lls mothers neck, aud
| throwing 1t on tue ground. crushed II with
| his heel the act, which was a fitting climax 10 III,
| former action, drew forth he most emphatic ant
| continuous az p.Eusc. And yet IN the subsequent
acting If the Sccuc there was shown great tender
| hess and love In his treatment Of liz mother.
! more extended analysis Of this scene could b'
| given, but the space nj ouI command will not per
| init. Mrs. Mul0cncr, a. OphcId, looked HnC
! acted the part perfectly, her pure beauty
bcirg the living expnncnt OF ShHkspeare's idea
| creation. MIR. Mines lcvick was ro,d in cPrtnii
portions Of the part of the King, nut his loiiges
and ~, 1t beautiful speech saVorCd too much OF tn
camp meeting style of or! tory. Mrs. Homblin, a
the queen Mother, and Mr.. Weaver, as Poon,g,
| rendered effective SUPPORT To- night RosSi VII
ape cur in the play of Edmund keGu."