New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-10-27

MUSIC AND THE DIANA.
REMITTANCE OF sALvINI.

REMITTANCE OF SALNiN
central point of interest, last night, was the
Fifth Avenue Theatre, where the great tragedian
Of Italy. Signor Salvinl once more came before this
public. In the character of OtheO-beginning pro-
fessonal tour of America which is to last through
out the present season. The house was crowded.
and the actor had such welcome as must have
told him. in no uncertain tones. how well New
York remembers its favOrtes and how cordial is the
public recognition, in this community, OF every
fine effort and splendid achievement IN art. lie was
greeted with positive tumult, upon his hrst en-
trance; he was followed with eager and ever-ln-
creaslng interest and he called before the cur
tain again and again as his performance went
This work has been known upon our stage for
nine years. and no piece of acting Is better KNOWN
OF stands less in need of particular description
Our estimate of it was long ago stated, in terms of
unqualified admiration for the acting OF Signor
salyini if not with entire acceptance of the Moor
that he presents. There was nothing in the I'M
persouation given last night to cause change III
that estimate Signor Salyini has not gained In
delicacy: but he has not lost in power His pres
ence is It'll colossal, his voice magnificent, his
countenance supremely eloquent his gestlcuation
natural. broad and splendid his movement stately
and supple his passion electric, and
his stimulation of barbaric humanity both
truthfu and terrible and he is the same practlsed
and consummate mechanist of old. To all the
animal elements In OthellOs nature he gave per
feet expression To the benignant side of the
character he gave but a slight emphasis. His idea
of OtbelIOs love for DesdeMORa wasas always hith-
erto il has been-oyeI-sensual; and his killing OF
Desdemond was more an action of uncomfortable
and beast-like fury than action of sacrifice His
treatment Of the character of IdgO Furthermore was
not Indicative Uf the high estimate which is placed
upon that parsonage. IN Shakespeare's text
In brief he followed the Old lines that were laid
down by him long ago, and that certainly lead to
tremendous presentation of frenzied semi savage
and fearful personality. But the OtheIo that stands
in the sandals Of Sinor Salvni-however thrilling,
overwhelming gr1sly, and awful-ls not so high, or
30 grand or so human and lovely as the OtheiO that
stands in the poetic page of Shakespeare. Neither
in the face nor in the soul does SignOr Salvnl con-
yey the sweet benignity of Shakespeares Moor
His Otkcio IS monstrous object to behold and not
an object that could inspire any woman with love.
But il is BY turns the incarnation OF frenZled
wretchedneSs and insane fury; and, as dramatic
performance-in texture, proportion, consistency,
through ess of detail aud afiuence of emotOn-lt
i one of the greatest works Of the modern stage.
The tragedy was acted III the Hasa method-the
Moor speaking Italian. and the associate perform
ers speaking English Miss Marie Prescott appeared
as Emilia and made a liberal amount of disturb
ance The presentations OF IdgO Cassie, ROdertgo,
aud BrdbdRtiO were respectable. SighOr SdlFlAl
viii act again on Saturday night.