The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1883-02-05
THE CINCINNATI FESTIVAL
Close of the Weeks Feast of Song in
Music Hall.
Albani in "Flying Dutchman" and Patti in
''Don Giovanni'-''Lo Pre-
sented on Saturday Night.
Collated From Cincinnati Papers.
THE "FLYING DuTcHMAN."

hard to know Just where to begin her praises
First of all, her natural voice is certainly
one of the purest ever given to any woman
and especially in soft high tones it has
limpid resonance which carries every faint
est vibration to the remotest nook of the
house. Her fortissimo is at times rather
screaming, but this defect, or let US say this
quality, which would be defect in the role
of Bellini's Amina, is rather a beauty in such
music as the solos and duets of Wagner's
Senta She has also that sustaining power
! which is indispensable for any one
who essays to interpret the operas
of Richard Wagner, the Merciless. Her
defamation last evening was admirable
and the long-drawn tones of passion, both in
the great scene with Vanderdecken in the
second act and the terrible gasps of the finale
were something phenomenal. Her whole con-
ception of the character, also, was excellent
and from the time when she begins the wild
story OF the wretched wonder, with that oft
repeat high G in sforzando till the last act of
self devotion she grows more and more in
tense. The rising enthusiasm of the public
was quite as much a credit to Cincinnati's
taste and judgment in music as it was fit
ting need of honor to grand artist
Madam Albaui GIVE is one of the two or three
terrible roles of Wagnerian music, and the
fact that so excellent all artist is a country
woman of US all becomes a matter of personal
pride. Nine Atlantis conception is ideal
and lofty. In the prosy round of daily life,
in the hum OF the busy spinning wheels she
presents the romance and beauty of love, yet
unfelt, OF the passion-power which is yearn-
ing, stirring the depths worshipping the
ideal, awaiting its object. We have seldom
seen lovelier creation upon the stage. Her
consciousness of her woman's mission, set off
by the annoying commonplace, stands out
above its surroundings as glympSe Of purer,
higher and nobler things
The costumes worn in the opera were of
the fifteenth century, and the chorus was in
the dress of Dutch peasants of that date.
Madame Albanis first costume was peas
ants dress of Norwegian type, consisting of a
skirt of royal purple cloth, with bands of
deeper tint, in stripes near the edge of the
garment. Girdle and breteles of purple
adorned the waist and fell over the shoulders.
gilt band encircled the head, tied with
long streamers of cream -colored ribbon.
Antique and large designs i'll jewelry were in
the ears and around the throat Her second
dress was similar in pattern to the first worn,
save that the color was ciel blue with POM
pom of white satin, the front crossed with
gold braid and fringe.
Galassi, the Flying Dutchman, wore a
jacket and short pants of royal purple velvet,
and long circular, reaching to the ankles of
the same material. A large Dutch collar to
represent homespun work, was around the
neck, the sleeves were slashed and finished at
the wrist with ruffles A black velvet hat
and long black plume completed a costume
unehanned dnrin0 the antirA -Anara- a.
PATTI IN DON GIOVANNI.
The great diva was in splendid voice, and
so gracious that her hearers were wild with
delight The spirit of mischief seemed to
hold undisputed sway with her faculties,
load har TO arrofa oil nf 10
tricks, some of them barely within the line
of legitimate stage business, perhaps, upon
her lover of the afternoon that only served
to make more apparent the blind passion
that led him on. He was bound with silken
threads, but he could not have been more
securely fastened had those same bonds been
chains Of steel. In the aria, "Canst thou
see me unforgiven?" she was by turns en-
treating. Gliding, pouting, and OF all these
moods it would be difficult to tell in which
she was most interesting. The music that
Mozart has here set to the language is pecu-
liary adapted to the import of the scenes.
AT the close she was recalled again and again
by the audience. There was no mistaking
the impression she had made.
''LoHENGRIN" ON SATURDAY NIGHT
The story of Lohengrin has the true
Germanic flavor Henry l, King of Ger
many, being attacked by the Hungarians,
visited Antwerp to obtain armed assistance
bfaDanu Is III Sldle Oh COHIu ONltl9
to the disappearance of Godfrey, the son
of the late duke. His sister Elsa is ac
cused with numbering him, by his guardian,
Frederic, or Telramund, who CLAIMS the
dukedom in right OF his wife, Ortrude,
who is daughter of Prince Radbod. The
King grants Elsa the right of establishing
her innocence by combat, if she can find
champion to fight Frederic No champion
appears and she ism despair, when a swan
appeared on the Scheldt, drawing boat, in
which is knight-it is Lohengrin. Elsa
promises him her hand and estates if he
proves victorious, and promises never to ask
his name, or whence he came. A combat
ensues, and Frederic is vanquished. 1t is
SANDER on the sex. the sequel in which
Elsas curiosity gets the better OF her faith,
and she loses her husband because she
couldn't hold her tongue?
The first scene represents a dell on the
banks of the river Scheldt with Antwerp in
the distance the Kings throne to be right
under huge tree, full set" by Mr.. Fox.
The second act shows the public square at
Antwerp, night effect, with illuminated
windows. etc, by Mr.. Rettig. In the third
act is shown a richly decorated bridal
chamber.
Madame Albani, as Elsa, not only en-
! chanted all by her singing but was the con-
summate actress all through. All the con
| hicting emotions which are given to this part
were portrayed in a manner which drew
forth feeling rather of rejoicing with and
pity for Elsa than of mere pleasure with the
! success OF Madame Alban in the part 1t
was easy to forget the actress and look upon
that figure robed in simple white as Elsa
herself, not Madame Albani playing Elsa.
She was magnficently dressed in. the fourth
scene of the second act, where she meets her
bridegroom before the minister in the bridal
procession One who understood the mystic
meaning of the opera could easily keep it III
sight during all Madame Atlantis persona
ton She was the pure-hearted, wronged
and doubling maiden. She was at the same
time the wavering. doubling convert tri-
umphing and rejoicing in the answer to her
faith, yet allowing doubt and distrust, be-
cause she did not understand all the mys-
teries to drive peace from Der heart in the