National Republican., 1884-02-26
AMUsEMENTS.
THE NATIoNAL-"FAusT." !"

is such that singers arc readily invited to do
their best in it. The artists who appeared In
it last night have most Of them been identi-
fled with the work, and have won somo
Of their most brilliant successes in it. Signor
Novara is unquostionably the greatest
Mephistopholes on tho lyric stage. His
voice is of the very best order of basso:
il is full, rich, and ovon, and he uses its tre-
mendous volume with the incest Judgment.
His method is that Of tho truest art, which
does not seek to overpower but to
please. His conception Of Mephistopheles
is bold and in the highest degree
dramatic; he makes him tho incarna-
tion Of musical wckeducss and acts the part
with vigor of inspiration that raises it to
the level meant by the composer. Signor
Del Puente as Valentino maintained his
reputation as q finished and conscientious
artist. IL is noticeable that whether Del
Puente has a small or a great part it is
equally we'll done; ho olevates whatever
part he takes. OF Campanini it is said at
intervals that his voice is losing some Of
its admirable quality, but he gave evidence
last night of having had year Of rest. His
voice was as fresh and even as ever. In the
act, he touched the high G with the same
precision of attack and sweetness of tone that
always characterized him. Signor Contini as
Wagner has n tenor of considerable robust
ness and Of good quality throughout. II is
likely that he will take more important part
creditably. Nine. Lablache, as Marta, was
once great contralto; the fine method re-
mains, but the voice has seen its best days.
Nine. Scalchi was, perhaps. more warmly
greeted than any artist in the cast. The
charming impression made by her last year
remained. There is o largeness, a nobility
about Nine. Scalchi's voice and style that
commands rather than asks admiration. She
possesses extraordinary compass, and the
clear and birdlise quality of her upper register
are beautifully supplemented by the resonance
of her middle and lower notes.
Mme Nilsson is an example of the staying
power Of q really great voice. She has, If
anything, rather gained since her earlier
successes. There is the same purity, brill
lance, and a kind Of limpidness about her
voice, with a deeper feeling and greater
confidence. She has seen singers come and
CO. but she has remained at the point Of ex-
celenge to which she attained.
The orchestration was good, although not
extraordinary. Signor Vianesi conducted. In
the opening chorus the orchestra Jagged a
| little, and showed disposition ali through
the performance to fall back bar or two.
Tho well-known soldiers chorus, with large
accession of brass instruments, was
perhaps tho most effective part of
the orchestration. In the fourth act a
| g;n ,,1a
second scene was rendered before the first.
The audience realized it at once, and received
the scene with coldness. At the end of the
second scene the first was given with con-
siderable cutting. Tho first scene had, after
an interminable wait disclosed n blank wall
with two doors; something better might
have been found for the duo between Mar
| gherita and Siebel. The celebrated trio, with
Del Puente, Novara, and Campanini, which
is really the musical gem of the opera,
was rendered with great force and spirit,
and was warmly applauded. The last
act was slightly cut at the close. This
invariably displeases an audience When
a company is advertised to sing an opera it
should sing it all, unless the poverty of its
resources will not permit it. Mr.. Abbey
| Will uO Wcll W BlNC thC NHOio VI LuClu
tonight, without transpositions or omis-
sions. The house was crowded and was
very appreciative.
FoRD's-"THE GREAT DIVORCE CASE"
1t was n very full and fashionable audi
ence that greeted Mr.. Charles Wyndham and
the London comedy company last night at
Fords opera house, and it was very well
pleased and satisfied audience upon whom
the curtain fell at the close OF the last scene
of the Great Divorce Case" There were
two plays in which the finished and versatile
acting of the company was exhibited. The
first was a comedietta, by Scribe, Loves
Device" This was a quick moving, inter
esting performance, illustrative of woman's
quick wit and mans chivalry under the an
Glen regime in France. Mr.. Wyndham a:
Gustave dc Grignon gave the audience
foretasto of his polished and agreeable style of
acting, whilesMiss Rose Sakor made decided
"hit" as the loving but self-posessed, ready
witted Countess who, in common with al
the old families Of France before the revolu'
, tion, could smile and laugh with graceful
sweetness while death and disaster stool
grimly before them, In charming contras
with the brilliant savor ytdiyo of the Counties
d'Antreval was the loving, timid Leonie d.
, la Villegontier personated by Miss Kat
Rorke. The tender pathos Of Miss Rorke'
, portraiture in contact with the humorou
presentation Of Wyndham's De Grignon mad
as delicious bit Of pure comedy as one woult
care to see.
The main attraction of the evening, how
l ever, was the famous "Great Divorce Case.
/ lmperious mothers-in-law furnish the bas
for series of ludicrous incidents and humor
Gus speeches that are perfectly irresistible
The low comedy is furnished in ampl
breadth, but with singular delicacy and free
: dom from any offanse against taste, by Mis-
Kate Rorke. The versatility, the artist
IS finish in makeup in gesture, in facial e'
a preston, in pose, of this young lady are chal
a acteristic of the dramatic excellence of tn
>, entire company. Mr., Wyndham's acting s
Godfrey Gordon, the young barristor, wit
: no practice but with an extensive mother
n in-law, was worthy Of his reputation. Pc
,. fectly natural aud lifelike, its polishe
o finish carried the audience from the star
"a Miss Kate Rorke as Parker, the original maj
l., of all work and bell boy in particular, VI
exceedingly good, and shared with NJ
Vi Wyndham tho honor of an enthusiastic reca
Ct before the curtain. The artistic versatile
A. OF this young lady's acting was brought in