Year: 1873




The Swedish Nightingale in Brookiyn-


Debut of Stsnor Msurel-A Grand Per-


f0rmance OF "Faust."


The City OF Churches last night had the advan-
tage OF priority over the metropolis in the first
representation OF .Faustn this season. There
were two entirely new features in the cast, M.
Maurel as Valentine and M. Nannetti as Mephis-
topheles. To these may be added third novelty,
the baton OF Muzio in the direction OF this trying
and arduous work. Since the palmy days OF
Meyerbeer. when he was crowned in Paris as
the righpul sovereign OF modern opera, no work
has gained such o widespread and lasting popu-
larity as the grand opera OF Gounod or GGthe's
immortal creation. Spohr, whose attachments as
a thorough musician are unquestioned, first en-
deavored to photograph in music the wondrous
dramatic scenes In this sad history OF the struggle
between the dove and the serpent the innocent
soul and the demon; but, owing to the defects OF
the ibretto and the prolixity OF the composer the
work was failure. But the chief Of the modern
French schools grouped together the principal
scenes OF Ggthe's work and constructed an opera
that to-day stands first In popularity in the
repertoire OF every opera house In the world. The
composer does not always rise to the grandeur OF
the poet as In the case OF the passionate words Of
Gretchen, "He loves me he loves me notp which
are dismissed without effort to crystalline their
intensity of feeling In music. But the main Incl
dents OF the story OF Gretchen-the first meeting
with her lover and destroyer in the 'Kermesse,"
the garden scene, the struggle with the demon at
the church door, the death OF her brother ana the
tragic finale in the prison--have been wrought into
a series OF musical pictures that must always take
foremost place in the mental gallery of every
lover of the divine art.


The cast last evening was Of degree OF strength
in the distribution OF the principal roles that would
naturally arrest the attention and interest OF the
musician and the general public. The Marguerite
OF Nilsson has been long ago accepted as the genu


inc reflection the stage OF the glorious pictures
of AIRY Sche1er and Kaulpach, and as the nearest
approach to the ideal OF Goethe. Miss Carys Siebel
is one OF her most attractive operate roles and no
lady could ask for a more impassIoned lover than
Capoul. Then expectation was on tiptoe to hear
and see how the demon and Gretchen's brother
would fare in the hands OF Nannetti and Maurel
Consequently Brooklyn did the best it could to
have goody representation Of fashion and crti-
cism at Its opera house, aud few vacant were
visible.


painting entrusted to the orchestra. the first
act the principal part OF the original poem con-
densed and all Its salient points must be instru-
mentally expressed. Asa general rule this first
act is nuisance Tor neither orchestra nor leader
bestows any attention upon It, But SignorlMuzio
showed tuat ne was conscientious In his art, and
there were many delicate bits or color shown here
and there and the chorus behind the scenes was
subdued. This has been Tor long time con-
sidered an impossibi1ty. for chorus behind the
scenes has Modoc proclivities and is too often
gun oy an unusual unanimlty OF tone. time anu
expression in the chorus, which was marred con-
siderably by the undue preponderance OF the or
cneStra. Then Maurel made his Operatic bow in
The aria which Gounod wrote especially Tor santley
and which does not appear in the regular score OF
the introduction to the work and is
worked out with all these ingenious de.
brother and esteemed neighbor that Gounod knew
50 well how to employ with efiect. The singing Of
this aria at once stamped the success OF the new
barytone. voice OF ricn, expressive tinabre.
which quivered at times with the intensity of
feeling, and showed high cultivation, a noble
stage presence and an acquaintance with those
details OF the histronic art that add much to the
grandest voice that an opera singer can possess,
OF Maure, The new Mephistopheles NannettD
then was subjected to a test OF his capabllity for
the roe IN the iiendish mocking, taking measures
mobile in Its rotundity as on the previous evening
in New York. when 1t interpreted the fierce
Jealousy OF Alfonso; but the action. the inde-
scribable vocal power that mns the mockng f1end
as Goethe imagined him, were absent. The song
The waltz was more brilliant than ever, voices and
instruments giving evidence Of master hand in
the direction d rhen tine gay suddenly
her, crossed the stage. The artessne5s OF the
country maiden was portrayed in the simple ac-
the calm virtue OF the maiden the passionate love
or +. .ust was checked.


The curtain then went up in the hsme OF the
OF Mephistophees was seen. Miss Cary sung the
love song "Le parlate donlor,' as she mas sung it
many time before, like true artist Capoui
Dreathed forth the ecstasy OF the newborn love that
takes possession OF the heart OF Faust in 1.-THE beaui
ful and touching aria, ''Salve Dimoran Every word
of this apostrophe the chaste nome OF the object
OF MS anectlons was delivered with heartfelt ex-
preston The violin oIsato Of the cher dattaque
aria for being nearly a halt tone below pitch.


Nothing could be more charming than the naive
she threw the necklace of pearls over her
neck and burst into the lightsome gaiety Of
sas msdsn aduang Charming Sr tas rs
gustTy. IN In the subssquent love scenes with
d'amorn the genius OF the prima donna shone in
its brightest lustre. When she sings, as Mephis-
Of her chamber, unconscious that the eyes Of a
her, the voice thrilled with : emotion, and and
rent to all. In the fourth act an
innovation was made in pacing. the celebrated
agony OF Marguerite in her vain attempt TO pray
Tor forgiveness for her fall and the triumphant
tones OF the end beside her rejoicing in her ruin
was portrayed by Nine. Nilsson with startling
power. The scene takes place outside the church.
and Marguerite kneels on the steps leading to the
ton, coming out of the church. find her lying In
sensible ut the foot OF the steps and bear her away
unti, recovering herseii, sne breaks away with
gesture OF horror as II she were some unclean
creature that should not be touched. The
.'Soldiers' Chorus" and the serenade of Mephis-
topheles follows and then the fatal duel and death
OF Valentine Maurel was grand In this scene, the
denunciatton OF his sister being delivered
with an intensity OF expression and fierce passion
that is seldom heard on the operate stage at the
present time. The last sad scene OF all,
the figure OF Marguerite lying on the straw in her
dungeon, the wandering o her mind back to the
days or innocence, the remorse OF her betrayer
and the imperious mood OF the demon, closed
rf M tLn afn fhAf aNtrIu
company in the ensemble and the rare
talents OF the principal artists. Brooklyn
audiences are notorously cold but even their
staid propriety was disturbed last evening, and
they found themselves, for once, In o state Of
thusiasm. No wonder. The Gretchen of Nilsson
the Faust Of Capoul, the Valentine OF Maurel and
the Siebel OF Cary, should be sufficient to draw
forth any particle OF feeling and enthusiasm that