Year: 1873

The success OF "Faust" last night at the New
York Academy amply fulfilled the expectations
raised In the minds OF those who attended It's nrst
representation in Brooklyn on the preceding even
ing. As we have already spoken OF the principal
features OF interest in this performance OF Gounods
masterpiece 1t only remains TO point out, In detail,
some OF the beauties that enriched 1T The vision
OF Marguerite, in the first act, that tempts
the philosopher from his allegiance to Heaven
and places him lrrevocably in the power OF tue
lend, is OF the prettiest effects that have been
seen the boards OF the Academy Tor many years.
The lime light seems TO fall on figure OF Carrara
marble rather than a living being The calm
purity and holiness of the village maiden, as she
returns from church and passes through the mar
ket on her way home, are shown in every word and
action OF Nine. Nilsson, In the second act, brief
though her presence may be on the stage. The
fearful story of her earliest love, dear
sister, whom death snatched away from her, is
told to Faust in the garden scene with touching
expression. The ecstatic love breathcd forth in
the accents "Ssnapre anar," and the deep feeling
that seems to thrill each heart string like the wind
signing on an Kolian Tyre, conveyed in the pas
sionate declaration "senza te, 10 poglto mo,'ar"
were gems OF the Divas impersonation In


np by The acng % The act Death Is OF
at the end. The first scene OF this
act represents the exterior OF the church instead
OF the interior, as have been accustomed to see
on the American stage. Marguerite can only reach
the steps leading to the door OF the church. as the
taunting voice Of the demon behind her recalls
30 her mind her position as an outcast ana seems
to interpose an insuperable barrier between her
desolaton and the mercul arms that Heaven
stretches forth to her. The same demoniac power
draws her away gradually from the shrine
OF grace until, suddenly turning around, the mock
ing face OF the fend meets her eye. The white
arms are thrown up IN agony, an expression OF
despair conyulses the face, short gasp and the
form sinks on the stage, as q nower whitening In
the breath Of amoom. AS a piece OF acting
TO the highest praise, and when united to
her exquisite voice. which so readily re-
spends TO every pusation OF human passion 1t
sinks deep In the mind OF every listener. The VII
lage congregation leave the church and IND her
lying insensibe at the bottom OF the steps. They
raise her, and by their kind ofilces restore her to
Consciousness She breaks away from them with
gesture OF horror, as il her very touch were con-
taminaton, and agonlzing despair Is in her coun-
tenance as she enters the home she mas disgraced.
This Is the gem OF Missions impersonatlon OF
Marguerite


Maurel sang the role OF Valentine, and acted it,
too IN manner that placed him IN the estimation
or the audience a genuine iavorite among the ar
fists of Mr.. Strakoschs troupe. The interpolated
aria, ''Dio possente," was dellciousy rendered.
and the death scene was impressive to a degree
The curtain fell on this scene as Gounod intended
1t should, Tor in the original score such directions
are given. Nannetti has an imposing appearance


in the role of Mephistopheles. and sings the music
with intelligence and effect We have spoken
before OF the faLless representations of Miss Cary
ana Capou "LucreZla Borgian will be repeated
at the matinee to-day.