The sun., 1897-09-19

decision. perhaps, the ballad of king Of Thule !"
TO the character uf which dcmi.tnt H. better
suited. but she dispcllcd completely the faint
ni mnnncTism Clingingto the Jewel Song" In
The Gondor, of her soul Grctchcn takes the key
OF Tie caskct placed on the threshold OF her
door and sings:
Apprcndo 10 nonfo alcun male mi pure
Her, eyes dgzcd by riches unknown until now,
are about TO he the accCmpccs uf NcDhistoJh.
cIcS. Night is fallen aud The two lovers, with
no witnesses but the stars, are together
Nottc damor, tutta splcndor.
Grctchcn, plucking a daisy. and asking as
she takes leaf from leaf, whether Ii love Is
eternal.
81 crcd qucsto pior
answered Faust, and the poor child, bend
ing under II gaze of flame, finds strength to
utter the prayer:
A. vavia 10 vncilio! All picta
| Navia presto. 10 trrmn Anime
Non frnngere II cor di Marghcrita!
These words were given with voice Of most
touching accent bv Christina Nilsson not
cluallcd by any other Singer. Nnrphcritn has
escaped undecided from the ,scdurcr's arms;
by Faust, she stands at the window, with eyes
| upiurncd to heaven, and sings:
~ mama, turbato ell mio corl
| Murmura II vento
E'tutto II suon della natura
| NJ rcpcton insicmc;
III tauIa. 81 tama'
With what poetry tic artist has imbucd this
| situation in which she appeared as the most
truthful expression of the purest love! In tho
Following net she was no less the embodiment
OF the poct's 5 ideal NdrGhcritd. pursued to tho
foot of the altar BY the voice OF conscience, ny
gloomy sounds Of the organ that load her with
nna,thcina9 am, was aEain placed in the broadcst
on on earth she lies in prison ana sings, like
Opheiid. without recognizing the lover who is
a beam from from IN memory inmS3 the ' darRnsss s
sI 9e hsr sshSs 7 DhS3E.s S % "T the Hro;sod "
herself from the arms Of Faust, falls and uhan.
dons herself to Divine justice. Christina Nils-
| lime In that final trio. in which love, madness,
and death wrestle on the straw of "A dungeon.
! How supernatural the enthusiasm with which
| she gives uttcrancc to the hallucnutory. ar
dent delirious melody which. repeated in three
"a tribe leap Exaltation OF the voice cannot
From the year 1867 tho fame of Nilsson
| had crossed the Channel, and Her Majcstys
Theatre numbered her with its prime donnc.
As in Paris, she made her debut as J. oicttd in
! Ncrdis La Jraviata' after n heightened prep
nration under the Maestro Dele Sedie. she
scored complete success and aftcrWHrd yy ,, she
Magico," and Faust. in which operas she sue.
Sseded in pleasing the public and the critics:
"lf music, as the ancicnts declare. is the soy,
| crcign remedy for melancholy. SO accomplished
be her own physician and work her own cure" "
The impression wrought by her performancc is
not at all equivocal Christina Nilsson, in the
opinion OF those who have listened to her. ranks
with songstrcsses OF the highest order. The Eng
lish papers were scarcely more UNANIMOUS than
hodiment Of I liorgher,ia in cionnod's Faust
The Dahv y icgrdph observed; Her conception
ity. The abandon and passion to which we
| have been accustomed in the cathedral and
prison scenes are lacking Christina Nilsson
| mental maiden whose character cannot con
m os1 f and Her
ham festival in the oratorio Of Judas Mac
l,u.nS ~lan MN do IN ri INIT nR
'at w"s at once enc engaged ] FOR for the Handel festival
which was given by the Crystal Palace com
IN lie Nozae di Figaro was one in which she
most satisfied the critics. Her great victory
was won in the famous air
Vol che sapcte
| che cosa e amor.
She was literally created to personate the
mischevops lad. The spirit OF the part no less
suited TO her. She sang also in Lucia di
I.ammcrmoor" and referring TO that perform
ihS y S!so sch SrG' as come
ideal OF the Bride Of Lammermoor that in his
brgh,test dream No painter could wish more
sweetness displayed than in the cavatina Reg
nava mel Scnzio while the ornate additions
TO the repetition of the theme of the cahale,ta
co%parabla S usney n y and finish. SiSi;sd frantic
contract scene the full passion it exacts, but in
the scene Of madness the actress throws OF
fpS6' into the Spirit M Of the Shafac,cr. @ Each phrase
on her lips is the rue uttcrancc OF the herone's
4 b. cd a% Sgg Ssg"E %s by
written expressly for The new Lucia by Sienor
Ad and tesms h4o with aGHs;
appeared Mt the Tricnnial Handel Festival at
the Crystal Palace in London she was checred
almost overwhelming at first upon the soccta-
tor. The vast nave is transformed inton con.
musicians are face 10 face with 10000 spec.
tator'. Nilsson. surrounded hy these masses.
Judas Maccabaus. The first OF the two.
especially horid aria excited the widest en-
tered the style OF the music and rendered it in
| perfection
The superb rcScitatiyc was mqgniticently de-
les Christine Nilsson's grcatness was vastly in
creased ON TINT day. To cmbody OphciiG in
text in London. wns to accomplish feats to cs;
!ablish the artists pomarity, in the United
~. she was engaged 10 sing in the principal
cities OF Great Britain. receiving, for her ser
aroused in England and elsewhere may he AT.
Sn to She her cTaasd nFs Hrns ?H4 Hsom
one Of the ambitious in art II
conscientious ard gifted, artist, who reached
her rank not only by natural t, ability.
| beautiful one, "A soprano Sfo1nto ms the ltal'
inns call T. sonorons and Of peculiar ttmhrc:
career was, very sparkling and the smor>gti
on the high notes were excellent. Her voice
| nhu lIS nhllOuVJlI' ntICf lUt frequent phEul-
les drawn between Christine Nilsson and Jenny
Lind. But VI. B'azc do bury said once: The
voice OF the elder artistic never had Tint bril-
liancy OF vibration. The virgin character OF
swedish mnidenhn9d. though, Is identical in
both" Christine Nilsson cNCclled in the compo.
stion OF a scene. in the power OF giving II its
fullest iinnor'anrr, and OF Goncentrnting upon II
successful in episodes. Me saliency OF which was
added 10 by her personal Swedish beauty. and
by her singular ASPECT rsther than by tie "a de-
velopment of character ar complicated STU.
ntion; Hence. her pccrnntpency ns the ideal
| Duhflid the ideal ihCrnbtno, and the ideal
Quccn of NigM though lima de Murska as
.Isropidmmcnte IN the zenith OF her cG!eer; ;
OF oil the singers by the critics of England
Vienna and America.
In conclusion, to set her down as n light song.
stress would be as unfair as To have held her
as dramatic prima donna sopTano Nilsson
must he regarded amoIg her con HIsInpornrics h
n decided personality. n shining Individuality
whom it has been II difficulty to cnn2arc, 10 MS
simulate or to locate in ~ mcihodiCbl manner
Therefore. she must be chSscd and placed IN
the plciaics Of the greatest artists in the third