Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1894-07-29

Of which expands itself like the bud OF
a rosa-sheds a balm on the ear as some
exquisite fruit perfumes the palate. No
scream. no affected contortion OF sound
attacks the sense OF hearing under the
nretense Of softenine the feelings"
s,Rnt that which we admire above all
IN tho artist" observes Florentine, sis
the nervadipg soul, the sentiment, the
perfect taste. the inimitaole method.
Then, what body in the voice. What
larcenessl What simplicity OF style!
What facility OF vocalizatlon! Wnat
genius in the contrasts! What color In
the phrases? What charm! What ex-
pression! Mile. Alboni sings as she
smiles-without effort, without fatigue,
without audible and broken respiration.
Here Is ART in its fidelityl Here is the
model and example which everyone who
would become an artist should copy"
TIE TESTIMONY OF BERLIoz.
at is such a pleasure to hear real
singing" wrote Hector Berlioz. 1T is
so rare; and voices at once beautiful,
natural. expressive, flexible, and In tune
are so very uncommon. The voice OF
Mile. Alboni possesses these excellent
Qualities in the highest degree OF per-
lection. It's magnificent contralto
of immense range (tHo octaves and
six notes, nearly three octaves,
from low z TO G In alt,
the quality perfect throughout, even
in the lowest notes Of the lowest regis
ter, which are generally so disastrous to
the majority Of singers. who fancy they
possess contralto. and the emission OF
which resembles nearly always rattle,
Aideous in such cases and revolving 10
thu ear. Mile. Alboni's vocalization Is
wonderfully easy, and few sopranos
possess such facility. The registers OF
her voice are so perfectly united that IN
her scales you do not feel sensible OF
the passage from one TO another;
the tone is unctuous, caressing, VEL
vety, melancholy, like that OF all pure
sopranos, though less somber than that
OF Pisaroni, and incomparably more
pure and limpid. As the notes are pro-
duced without effort, tho voice ylelds
itself to every shade Of intensity, and
thus Mile. Alboni can sing from the
most mysterious piano to the most bril-
liant forte. And this alone Is what L
call singing humanly-that Is to say, In
a fashion which declares the presence
of a human heart, a human soul, hu-
man intelligence. Singers not posses
sed Of these Indispensable qualities
should, In my Judgment, be ranked
in the category Of mechanical instru-
mentS.'
ALBoNI AS A WOMAN.
"Mlle. Alboni." Bertioz adds, sis an
artist entirely devoted TO her art and
has not up To this moment been tempt
ed TO make a trade Of ii; she has never
heretofore given thought to what her
delicious notes-precious pearls which
she lavishes with such happy bounty
might bring her in per annum. Differ
ent from the majority Of singers, money
questions are the last with which she
occupies herself; her demands have
hitherto been extremely modest. Add
ed to this, the sincerity and trustworth-
mess of her character, which amounts
almost to singularity, are acknowledged
by all who have any dealings with her."
She was married TO Count Pepoll,
a grandson Of Murat and Caroline
Bonaparte, and her relalatlons with
the Bouapartist families continued
intimate. After the Counts death
she was married a second time to
NJ. Zieger, retired officer, and finally
left the stage. She lived at Vile
d'Avray 10 u pretty place which she
called from Rossini's opera, "Villa
Cenerentola," and here, with a visit to
Paris in the season, she held sort OF
little musical court, employing the for
tune she had amassed in twenty years
of professional success, largely in be-
friending young artists. To the pres
ent generation Alboni is only a name,
but it is name that will live in the his
tory OF song.