St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1893-03-12
A MUSICAL TRIUMPH.

Can best be bettered? If it can. Ger
tainly the singing of Nine. Nordica yes
terday afternoon surpassed her efforts
Of the previous evening. No programme
could show so we'll her versatility and
originality. Opera singers are often ill
at ease in concert programme. and
fail to awaken the interest which is at
taehed to solo, perhaps 10 better sung,
but accompanied by dramatic ac-
ton. Nine. Nordica is equally at
tractive, as the programme proved,
whether in the con ctrt selection
from LA Refine de Saba" by GOunod,
or the beautiful solos of that composers
Faust" The former is of the cold
classic style, giving little opportunity
for the display of colorature; but, fort
unately, the breadth of culture pos
SesSed by this artist gives equal express
sion to calm. strong work. or ariaS in
which the glow of sprayed notes makes
tlorid. A tender lullaby was given as
an encore, with faint far-away notes
which one almost dreamed that he
heard, and after rapturous second re-
call the audience succeeded in eliciting
the old favorite dear to all music
lovers, but more beautiful when
sung by all American, ''SWanee River"
1t is a faVOrite as few American ballads
are with the masters of Italy, and yes
terday as the song fioated out through
the arches the silence was absolute.
But it was as Marguerite in the gar
den scene from Faust" that Nine. Nor
dica was irresistible. She looked, acted,
sang the part to perfection. The purity
of tone and wealth of EXPIRES
c;R nj,
self has never sung with more
crystal clearneSS, and certainly is far
from the warmth of dramatic rendering.
She sang to herself as though it were i'll
the Old German garden. and She knew
the world no more than the simple
fraulein. The song at the spinning
wheel was Of rare dellcacy and grace.
and the level aria is we'll calculated to
display the briliancy, the marvellous
tieXibility in difficult passages. She
looked the part, and her stimulation OF
reserve and innocence was perfect. The
dramatic action had Just that grace
which one associates with the name
Marguerite. and the dawning and TIL
umph of love was marvel OF purity
and warmth. In the love passages with
Faust every tone of her voice breathed
the love which can better be sung than
spoken. 1t was this that made the
scene so powerful, and emphasized her
perfect artistic conception OF the poets
creation.
Campanini never sings himself out of
favor. His Interpretation of Faust
was full OF the passion with which
Goethe has endowed this character, ana
which has inspired some of the finest
work of GOunod. He sang 'Salve di
Mora" with the Uld-time dramatic eX-
preston. and the ardor of his love-mak-
ing was strong dramatic background
for the maidenly reserve of Marguer-
lite.
His concert number was an aria by
GIuck, from "Iphigenia in Tauris," and
was marked by subdued pleading i'll
the pianissimo parts like the muted
strings of violin.
Emil Fischer was the Mephistopheles,
of which every singer and every student
has his own idea. Fischer'5 is not the
analytical. diabolical, denying devil
of the poem; in fact, he doesn't deny
anything. Love may 90 hang" and
so may the rest of the world. He is III
it to have a good time at the expense of
any one and every one. Even poor
Martha, with her easywon affections, is
shows lust that idea of fear which
Goethe gives him when he says, ''she
would marry the devil himself"
Fischer acted capitally. 1t relieved the
stiffness observed in his concert solo,
sin desc Heiligen Hallen," which was
superbly vocaliZed, the low ELS being a
revelation of range.
Madame Scalchl was not accorded
the prominence in the programme which
the audience would have liked or her
voice seemed to command. But she
sang her two solos in way to make
them delightful memories, especially
the flower song as Siebel, dressed as
boy.
SCR. Del Puente appeared in two solos,
since he was not in the Faust" cast.
His singing is inimitable, not the mere
vocalizatlon, but 1t is accompanied by
manner which is captivating. He acts
as well, and relieves the solo from all
stiffness, though there are few who
could do it and not appear affected. 1t
is a part of the man. Verdi and Rossini
were acalled upon for his selections,
the latter one tarantelle of such pc
culiar quality that a rousing encore was
given and elected the ever popular
"Toreador" song from Carmen"
Isidore Euckstone as an accompanist
Is beyond praise. but one wants 10 give
it to him, the task is so often an unap-
preciated one. He has perfect sympa
thy, almost foreknowledge, of what the
singer will do. His accompaniment is
sustaining, but never apparent as part
asids from the song. The piano in the
orchestral accompaniment to ''Faust''
was disagreeably prominent, but this
was no fault OF Mr.. Luckstone's. If an
orchestra travelled with the company,
and 1t did not have to depend on one
which lacked Tshearsals, there would
be an absence of that instrument, which
is always out of place except in a con-
certo.
Mr.. Luckstons appeared In one solo
number, his own arrangement of Ros-
sini's overture TO "Wiliam Tell" 1t was
played capitally. The intricacy of the fin
-gering demanded marvellous dexterity,
and his manipulation OF runs and trills is
mastery. An admirable thing about
his playing Is that he never seems in