The sun., 1903-03-01

her chromatic scales. Yet this singer had
her faults. One writer says: -She could
never execute certain passages without
very perceptible oscillation Of the lower
jaw which made them instead OF being
even and smooth. sound like a succession
of staccato passages on violin. Again
she failed IN the simple and gently pathetic
style. In a word her fiorituri were not
all executed with the briiancy and smooth
ness which characterized PATHS, nor could
she have competed with the modern So
prano in the delivery Of such airs as All,
fors lui."
Pasta and Grisi are not to be compared
with Patti. because they we're singers q
more heroic calibre. Pasta had harsh
and veied voice. which she hammered
into tolerable state Of subjoction by hard
training. but she was an artist OF trernen-
dous dramatic power and did things which
the incompatible Rosina Of Craig-y-Nos
would never have dreamed OF undertaking.
Grisi had pure. brilliant, flexible soprano
voice, but she owed quite as much TO her
dramatic temperament as she did to her
tones.
Malibran, the gifted daughter Of Manuel
Garcia. was another OF the famous stars
Of vocal history. but her singing was by
no means perfect Her style, We are
told. was marred by a questionable taste
in her choice OF ornament If we grant
that the improvisation Of ornamental
passages IL admissible at all then We must
allow that PATHS taste was charming
though here no doubt Sembrich. being the
finer musician, would excel her. Mslibran
voice was not fautless either In quality
or uniformity Her charm lay in the
peculiar dramatic quality OF the voice and
in her communicative musical feeling and
potent intelligence.
In all probability PATHS greatest rival
in the history Of song was Jenny Lind
Her voice was a soprano Of bright, thrilling
and remarkably sympathetic quality, rang
ing from ID TO d, two octaves. with note
or two occasionally available above the
upper d. Her upper register was rich
and brilliant and superior both in strength
and purity to the lower part OF her voice.
The two portions. however. she managed
to unite with perfect skill. moderating
the power of the upper tones 40 as TO pre-
vent. them from betraying too clearly the
comparative poverty OF the lower ones.
Her execution was wonderful and she pos
sessed a phenomenal length Of breath. II
il altogether probable that in her hest days
Jenny Linds powers OF execution wers
quite as good as PATHS blt she was not so
richly gifted In voice. PATHS voice was
more extensive, had a greater body and
was perfectly equalized 1t seems. thore-
fore, that Niemanns opinion had good
ground.
The writer Of this department was ono,
talking q Nine. Sembrich about singing z
and singers, and the famous Polish 40
prano related how. when she was q girl.
she had stood for five hours in a line OF
people outside a theatre where Patti was
10 sing, waiting TO make sure OF a seat In
the gallery. She was too poor at that
time 10 buy anything better and even the
gallery ticket was luxury. But the chance
10 hear the greatest Of all singers was moi
10 be lost. Years after~srd Nine. sem
brich. who had earned some little reputa-
ton for herself. told Patti about that cold
winter nigh, at the gallery door
why, you dear child said the bewitch.
| ing Adelina. why didn't you write 10 me'
1 would have sent you a good seat
sAh.' Said Nine Sclnbrioh, commen,ing q
on this. sshe would -end L. TO me now
| but then
Newer mind said the writer, some.
' what hastily, but Win kind thought. you
are the Paiti 81 to-day
Mm. s.mbrich hoax. srss-ly and stead
| lily 81 the speaker and slowly shook her head
All, NY friend she said. when W
,pesk of PAU, you si'esk of sohs,hins
/ that ~As unly purs
NoS a. r-,urn "a Mmr GAd.kl Who
fof ih. puiIia..~ II thS afiiols is slnipy