New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-10-05

whom the world delighted to honor. AS
possible result of the popular educa-
ton which had been going on at the
German opera, however, it was notice
able that the audience, outside Of the
boxes, was not brilliant in appearance.
The parquet was not filled and its tone
was sombre. Balcony and dress circle
were crowded, and it was plain that
curiosity provoked by the farewell"
lure was at work. So it remained for
several years to come. 1t was long
before the cry of Wolff" failed to
elicit response, and when it was no
longer needed the artistic mischief had
been wrought.
An absence of three years followed
this season. Then Abbey and Grau
brought her again to the Metropolitan
Tor short season of opera. from March
"a to April rs. 1890. In her company
were Albani and Nordica, Ravelli, Vicini,
Marcassa and Customary (the basso
who died in Jean de Reszke's dressing
room during performance of martha"
after Grau had become manager Of the
Metropolitan). In January, 1892, she
came again IN concert, and The Tribune's
reviewer, the same who is indulging in
these retroSpections, was still faithful
to his idol-his heart still "true to Poll"
Hear him:
There is no occasion to repeat again
what has been said so often. All the
variations on the old theme which are
possible have been played a thousand
times. In some things Nine. Patti has
been an exemplar for whole genera
ton OF musical students. In some of
those things she is still without a peer.
In the acknowledgment of those things
1t is meet and becoming that the voice
OF criticism employ the cadences of
grateful and hearty admiration. 1t is a
rare privilege to hear her sing. 1t is
delight to the sense to hear her peer
lessly beautiful voice 1t is an educa-
ton to be privileged to study her art.
10 say this as often as occasion requires
IS duty toward her gifts and toward
the phase in musical art which she
represents. Contemporary criticism,
however, may be said also to have an
other duty: That duty employs an ele-
ment which receives little recognition
either from public or artist; vet it is
the element which contains the most of
the intellectual exercise that is exact
and enduring
concerning the capacity of singers
voice and the technical or mechanical
features OF singers performance
there ought to be no controversy pos
slble. Applying this element of criti-
clsm, 1T IS due to the public of to-day
that the fact be stated that the Patti
OF to-day, though she be still without a
peer in her department, is not the
Patti OF twenty years ago. Taken rs a
whole, the statement is tribute to the
gifts and graces Of the singer of which
any one might be proud Who is there
whose art after decade of decadence
can still be described as unrivalled Z?
The deficiencies, moreover, are scarcely
observable except with the help Of
comparison This fact. which has been
Impressed upon the judicious more and
more forcibly as the years have gone
by, is another evidence of her marvel
lous instincts and training. Her voice
has lost many notes, but she conceals
the fact by not trying to sing them 1t
has lost in tfexibility and briliance,
but she has simplIfied the ornamental
ton in which she used to revel, and
only those who have an unfortunate
:enacity of memory can know of the
change. All that she essays she accom-
plishes, if not with the reposeful ease
OF former years at least with con-
summate art that is almost bewilder-
ing. 1t is good for the art of song
not only the old f1orid art, but the art
which has supplanted it, that Nine
Patti still sings. She, is an eloquent