New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1883-11-17
MTSIC and THE DRAMA.
,,,p pATyr1 AT THE ACADEMY.

NINE, PATH Al lhE ACADLhh'
Madame PATHS voice last night showed signs
n, the cold which untitled her for singing and compelled
,,o.,nonement of La Traviata" last Monday. The in
Sispo.ton was slight, however, and noticeable only TO
those who are familiar with her glorious voice when 1t IS
Of its hest 1t showed itself in slight loss OF purity III
ntonation and IN tine than ordinary effort when
cost her to sing There no lack OF lustre IN ner
dramatic Representations and her musical performance
was only little less perfect than the ideal winch sno
alone of all living singers, could have created.
The opera was La Traviata," in which Madame fa'U
fills one Of the most brilliant OF her many brilliant roc
In the face of score of VoeGS who seen ana hed
with pleasure Madame PATHS ViOletd remains UNIQUE ~
its every feature. The reason Of this Is no' aio r
is a hawless example OF singing, for such ALSO arc ~
other parts; it is because in the char"o'ol 90 =,
presents IL there is so potent uhoH
knowing and doing in all the department .ti
we expect contribution TO an operauc 80 ,,n
For all the character traits emotions and passions Vi 'o
LADY of the Camelas this gifted woman mas '"o MS
eloquent expression conceivable DESPITE uo
music she gives the character dralnauc iiu' 90
-, -, i,solf compels admiration Without sacrlncing
.,,o ., tbe mower which lies in the action she makes
80 ,ic a vehicle OF absolute and pure beauty what
stress NJ passonate intensity can be voiced by ma
te,ial that has been charged with Delng sOuleSs
~, dint ~ tome color and defamation, Madame Patti
shows in this opera In other In her reperory Inc
accents which seem be most natural TO her are the
light hearted ana rOgusH dCCCuto VI f'Vo"''
snmmate mastery Of all the things that enter into artistic
reproducton enables speak with the same eoqence
in the accents of hearbreakng despair ana hopeless
grief as in the measures that tell only of careless merr
nent The range of sentiment and emotion between the
friyollty of the first scene and the horror OF the
last is pictured forth with great vividness
nv her action and stimulation of physical decay
Every one of the strings in the swept again ana
nto equally moving eloquence between the reckless
"sempre liberia of the banquetroom and the asohzihs
Gran DIo of the death chamber Is this that makes
Madame Patti more than vocalist, and that gives her
dominonover provinces wherenate seemed 10 zen! her
the right of sovereignty.
Change from the manner in which Madame Patti has
sung the part before not to be expected An al
vantage outside the pleasure given TO Others winch her
method brings is that preserves the voice against the
decay which causes such devastation among opera singers
NOWADAYS The artist returns to us therefore
with a voice in which only few can
nerceive an impairment since had the freshness OF
youth She is sufficiently creature of emotion to be
moved By external things, such perfect accessories
capable coabOrers and apprcciatlye ana
numerous audience, but her ideals are set, and
she gave us the same Voen night that she did when
she returned Europe two ears ago Unfortunately
for the general effect her support except so ir as IL u
peudad on SignOr Galassi an unworthy one pSuor
tirni's would be dwaTcd into mslgnIcanCe 10y
comp1Ii,On with Madame PATHS IiDteTd or Slgnor
Galassis GernOHf if he at his best ana NE Is
singing much. He l. the most ulmuSlcal TENOR VINO
has ever attempted to carry the prhcl Dutn vi az
opcr season here As the other performers, silence Is
Kindness The audience large one, nlnG an inc
seats The usual exhibitions of enthusiastic recalls anu
presentations of flowers may lie imagined