New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1884-01-06
NINE GERSrER IN aFAUST.0

NTme GrrStrr's essay of the part of UdTGherth
in Faust did attract very numerous audience "a
the Academy yesterday. Tho people who were there
were permitted to ENJOY performance that was highly
interesting The adjective Is however restricted u
Mmc Gersters for all else IN the perform
ance was on plane OF meiocIty which Wa any thlh.
but interesting lover Of GOunods beautlfi music
This fact must be overlooked IN AN estimate OF " 10
Gerstcrs accomplishment, for Faust OF all operas Is
the last in which the prua donna Is independent oi ncr
co-laborers; aud Ideal performance OF A"Jh""d
can be robbed Of almost tue last yeti5e OF it, u'c by
a poor FtsL The test a. the adience-rOOm judges 90
is applied in the garden scene, and IN this the music Ot
the lovers is carc,singy interviewer and 80 muuAy
complementary, that it cannot be kept upon an Ideal
plane by either OF the two alone. For this reason
wa, unfortunate that Nine Gcr>tcr Obliged TO sing
with sgnor yicni compelled her t" contend nsanstan
influence a. injurious reality that OF the daboIlcay
aCcoutrrd lover I. supposed to bo In the play
OF Nine Gcrster's performance OF hdgherd II can DO
said I'm general terms, that while, like everything shs
does IL Is Illuminated by vocal tunphs and hehce
is certain TO be pleasing IN its purely musical erect
nevertheless adapted to her style. Her vocal
eoupmcnt is not adjusted To IT, and however intelligent
her understanding needs OF the part may be- ana
however earnest her effort 10 realize Them she las snort
Of complete because OF natural limitations
Strangely enough this made most manifest IL thH
portion of the opera where least TO have been ex
pected-in the love music In the Cathedral scene she
breadth OF manner that II pardonabe not 10 have
cyucctcd from a singer who has scored all her really
,rot frlmphs In music OF the lighter sort But In the
Garden there was dcarth or that passionate expression
without which GOuuods Marghertta. II not GOcthes
reichel ia ncOnCciyable. II Is her marvellous warmth
OF tone and her sympathetic intensity IN this music
winch makes Mme Missions Margher IA fill the COM
handing place that the list OF that herOlnes
impersonators. In respect Nine. Gersters imper-
sonatlon IA deserving OF praise: she has approached
nearer than most great rivals In giving MdfVerd
that element OF extreme simplicity and rusticy mot 10
saw coarscncss which ntoS rdl part or tho feal
Grc,chen Ever Faust was first produced there
seems 10 have been less conscious imitation ot
the stage figure which It Is open secret Nine.
Carvaho took from AIRY schefler's pictures. Tho
character has become and the business OF II has been
learned like its mu,ic Nine. Gcrstcr has cut loose from
This clogglug tradition Ia many things, ana has lhus
yiudctrd her originality or thought and independence
against under the circumstances has, however, copt
iu-tnat Ot overriding the paris where hef
own Judgment wOud tell her she likely
Ia he deficient. In the Cathedral scene,
where the Ntralasauce Of action greatest the uu-
fortunate effect Was intensified by The use OF the exterior
ina rad OF the interior ot the edhce Tor the stag set
SucE WRITINGS and Contortlons Mme Getstcr tN-
hicd at the OF the steps yesterday could hardly
have failed attract attention even In the ION century
ycutonal and OF the unhappy Things IN toe opera
An here avenged itself by "a" gross >oph'ur ioh
of the most Impressive and scenes IN I'tthes
tragedy.