Year: 1872

"Faust' 1T tho Academy Last Night.


With such Marguerite as Nine. Lucca, Gounod'a
opera Is strong feature in the managerial repc--
tOtre at the Irving place opera house, strong
enough to cover up or compensate for many de-
nciencies In other respects. Gounod has q frm
hold Of the affections Of the public in his illustra-
tion OF Goethe's great work, for 1t possesses in
some OF the scenes the always attractive merit Of
dramatic strength and melodious gracefulness
even II the composer does net reach the
high standard Of Spohr who for homo
geneity OF idea and grandeur OF con-
ception is immeasurably his superior. "Faust'
seems to be misnomer for this opera. 1t should
rather be called marguerite" All the mysticism
and philosophy Of the original are lost in the
mantle story OF the poor peasant girl that predomi
mates in the OPERA and the six give sort OF
Dolly Warden idea fthe immortal creation ofthe Ger
man poet. The weakest Of all these scenes, music
ally speaking, Is fortunately the first where Faust
as philosopher is an intoerahle bore, and we
experience feeling OF intense relief when
the chorus OF villagers behind the scenes inter-
rupt his medtations. The "Kermesse" is always
acceptable, although not Goethean, on account
OF the brilliancy, well sustained too, OF the
music and its popular character, together with
the clever and ever changing arrangements
OF the scene Here Lucca first reveals her great
talent Every one that has seen her in the opera
remembers vividy the first impression produced
on the mind when she answers the salutation OF
the handsome young gallant in the market place.
We have spoken Of 1t at length and need not again


The garden scene is curious intermixture in
musical point Of view. The Siebe last night was
acted the little part she had to do in
the scene very commercially and pleasantly:
Then the asa n1 s
considerably at his hands. When the first minor
chords announced the entrance OF Marguerite the
attention OF the audience became concentrated
upon the stage, and the little lady sung the "King
OF Thule" with that artlessness and yet efrective-
eass gem MI s the the opes
with such an abandon and sparkle that 1t drew
@ s 1
Lucca swept away before her the most call0us
feelings of even the professional critic.
But every tone Of her voice quivered with tender
Gretchen, thrilled with the transport Of first love,
sings at the window beneath the soft light Of the
lover and his demon adviser apostrophises her new
found idol thus:-"Ei m'ama," the audience be-
came still as DEATH as II 10th to lose one OF those


The blatant soldiers chorus OF the next scene
proved not particularly interesting; and SignOr
evidence of an exceedingly small amount Of vocal
or dramatic power. The death OF Valentine gives
@ To S tery



pable OF taking advantage OF 1t.


That one short, gaspng scream OF Lucca In the
church scene, when the ominOus apparitiOn Of the
tempter meets her eye and when she falls pr0Strato
in the midst OF an astonished congregation, is an
indication OF genius The artist and the librettst
have more for this scene than M. GOunOd.
The composer has dealt with 1t very queerly, and
we might say fppantly, introducing themes and
Instrumentation not at all in keeping with its char
acter. But Lucca makes one forget the weakness
OF the music by her grand mpersonation OF anguish
and despair. Every movement of hers, every tone
Of her voice. rises above the commonplace or mere
acting. Yet she does not reach the climax Of
her Marguerite until the last act, where the
expiring effort OF the mind of the suffering girl
is wildly illustrated To hear her sing those grand
measures, which are worth the rest OF the opera,
30 del ciel, ANGEL immortal I" were sufficient to
induce one to attend the representation OF Faust"
every night for season. She is the feature Of the
opera for, II we except M. Janet, who has made Q
decided impression BY his fine Interpretation Of
the diicut role OF Mephist0pheles albeit he also
had cold), there Is nothing else to draw such .
magnificent audience as that which crowded the
Academy from parquet to dome last night. Lucca's
Marguerite will be ever accounted one OF those
impersonations that shine forth with no common
ustre in the pages OF Italian opera On Friday she
again appears as Zerlina in Fra DiOvOlo."