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402x ME ,^ L^:A I>;f^ V-. . ;; ; . :: ' ...
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FRENCH PLAYS. Aftek all there is no such...
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ELLA'S MUSICAL UNION. , The eighth seaso...
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The Joanna Wagner controversy, which has...
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' LONDON WEDNESDAY CONCERTS. The Fourth ...
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Cituvelli As An Actbess. Quotation Is On...
province , and can be more easily rendered intelligible in criticism , I will jot down mj impressions of he * representation of Morma . ^ With her impetuosity and energy ; with her commanding figure and fine tragic eyes , aided by a perception of theatrical effect far surpassing that of ordinary singers , she cannot take up so grand a part as Norma , and fail in producing an effect ; but her acting is characterized , by the one abidingfault of displaying the ' strings which move the puppets , and making us painfully awareof her intentions rather than of the cliaracter to be represented . It is as if the actor in lieu of putting on the mask and speaking through it , were to hold tip the mask with one hand , while with the other he pointed out to . us the expression meant to be conveyed . With all her impetuosity she does not abandon herself to the feeling ; she is vehement but not passionate—she is loud but not moved . Her admirers declare that she rums the effect of the second motive in the trio when
Norma discovers that her faithless lover is the lover of A . dalgisa , though allowing herself to be ' ¦ * carried away" by the first . I distinctly say that vehement as she was in that scene she was perfectly unmoved—not a muscle . pf her face quivered—her Tiands . trembled ,. but her body was calm : oh ! how unlike the anguish and rage of Grisi in that scene ! Very false , undramatic , and elaborately intentional was the sudden interruption of her torrent of imprecation against Pollio , by the whinkig and pathetic reference to his children . Norma bids him tremble for his own sake and for his children ; the woman maddened by jealousy is only desirous of terrifying her lover , not of softening him ; but Cruvelli seeing the words tremaper te , fellone , epei Jigli tuoi } and deeming it correct for a mother to be pathetic when speaking of her children , interrupts by this reflective and remote consideration the strong current of her wrath . At that
moment , the mother thinks of her children only as ^ another source of vengeance—another weapon with which to strike the faithless heart of Pollio ; at that moment she is not a mother but an outraged wife ; and like a panther ready for its spring she glares upon her wronger ! I dwell on that example because- it is a striking one ; but the defect from which it springs is visible almost throughout- —viz , that instead of being the character , she exhibits her intentions with regard to it : and those intentions are not always acceptable . Grisi is the character ; Cruvelli stands beside it , and calls upon us to admire her conception of it—which I don't admire . The consequence is , that , her performance is elaborate , artificial , untrue , and not up to the required standard .
If I seem hostile to a young and remarkable artiste in the severity of this criticism , it is because the standards set up by her admirers are too high . When those " sitting in authority" tell me she is a great artist , I feel bound to disclaim my allegiance to her royalty . But she has magnificent gifts , and may yet reach tile crown she aspires to , and her friends try to place on her brows . On Thursday she played Hosina in the Barber of Seville , and played it charmingly ; not perhaps with all the girlish freshness and archness of sweet , wicked eighteen , but with infinitely mow life and charrii than Sontag . In Norma . Cruvelli has to contend against the inextinguishable remembrance of Giulia Grisi ; in Rosina she has " the Countess" to contend against : after that , you will not wonder at my feeling very dissatisfied with her Druid Priestess , and delighted with her Spanish coquette ! Indeed , comparisons apart , it was a remarkable performance . I never heard her sing so effectively , so carefully , or with so execution brilliantnovelinventiveand
little imperfection . Her was , , , startling ; her voice always under control , and herfioriture prodigal arid tasteful . TJnavocepoco fa roused a storm of enthusiastic approbation , and Rode ' s air with variations fairly took the house by surprise . But in the lovely duet with Figaro she fell short of her own standard . Lablache was in high spirits and glorious voice . His Bartolo became colbssally grotesque , the fat humour running over into all kinds of extravagances . Belletti sang the music of Figaro with great spirit , but as an actor he wants the entrain and gaiety requisite for the part ; his fun was conventional , and not funny . Ferlotti—the " groat artist "—played JBasilio ; and , like other " artists , " sang badly and ouer-acted ; " barring that , " as the Irish say , his performance was not without its fine points . Altogether it was a charming evening—the first thoroughly delightful evening we have had for the season . Rossini ' s gay and brilliant music , running over with life and grace , and gaiety and Southern passion , caresses the ear with such " a concord of sweet sounds , " that I can never tire of it ; and , for once , the performers were equal to their parts .
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French Plays. Aftek All There Is No Such...
FRENCH PLAYS . Aftek all there is no such agreeable place as the little theatre in King Street , St . James ' s , with its varied attractions , its " stars , " and its quick succession of pieces . The petulant echoes of the voice of Fretillon-Dejazot are not yet completely silent—the pprotesqueness , phantasy , tears , explosions , and manifold graces of Frederic are still the subject of conversation in a society which so rapidly forgets everyone and everything ; and now we have Iiognier , the bright comedian , trenchant as steel , gay as exuberant youth , roflcctiveas cautious a # e ; Mdlle . Donain the handsome , and Mdllo , Marquet the youn ^ and candid : look ing as fresh as innocent eighteenbeing as quick and rusee as experienced eight and twenty . I sharo the universal admiration for Rcgnier ; for Mdlle . Donain I have a long standing
account of agreeable reminiscences ; and Mdllo . Marquot has besides lior youth , beauty , ploanant truthfulness , and archnoss—the peculiar interest of strongly reminding nie of Georgo Sand ' s daughter Solange . These three , with Lafont and Paul La ' , wore more than enough to draw good , > . audiences to Mdllc . do la , Sciqlierc , on agreeable comedy , the story of which Xy ^ HEte-afroady been wade familiar to the public in Webster's version , l ) he * i /\ ? £$ & $% TjUw ; but the finesse and ologanco of tho acting make the French <^ Ck 7 J 7 cotmw ^ quite anothor thing ; and what was dull at tho Haymarkot , 3 ? A l ^^ rtiSm ^ rkt the St . James ' s . I will not put such an insult upon Uognior .- ^ /? V * * wSOftaM 11 tlie ft ( 5 tin £ of tn 0 English marquis , nor will I compare Lafont ^ 'Jk ' S'v ^ * W ^^^ Webster ' s Dcstourncttex was a much bettor performance ^/ ftWHifflBlb ' fl . it is the only superiority in the piece . The naivete" and \ $# ^} W $ 8 P 5 f 5 ™ - Marquot , the quiot elegance and finesse of Mdlle : Donain , x' ^ VtS ^&^ y * ' ^ ky ° P ^ ay wore enon ( r $ to render insignificant oharaotors XjjVy * t 2 p $ wfetly charming , llegnier did not play his original part of
Dedoiir-Tielles , but preferred that of the old Marquis . It was so truthfull yamusing that I am almost ashamed to say I wish he had kept , to his original part ! His performance of Figaro in £ e JUafbier deSeville was postponed till too late in this week for notice ; next week I may have something to say
Ella's Musical Union. , The Eighth Seaso...
ELLA'S MUSICAL UNION . , The eighth season of these- delightful concerts commenced on Tuesday with Sivori , Moralt , Oury ,. Webb , and Piatti , for the quintet , and Mdlle ! Clauss , the Bohemian pianist , for the solos . Place aux dairies / the fair deserve precedence , and I begin with Mdlle . Clauss , who made her dSbut in England oa this occasion . Camilla Pleyel was announced to play ; and I felt very disappointed on entering the room , and learning that " iiidis position" robbed us of her . It was in vain that a gentle voice assured me Mdlle . Clauss was a beautiful player . I am something of a spoiled child ; arid as I went to hear Camilla Pleyel , I was not to be pacified by any other player . But no sooner had-Mdlle . Clauss made her appearance , than those fine grey eyes , and-the delicate sensitive face , soothed niy impatience , and prepared my nerves forthe trenibling delight they were destined to receive . She played enchantingly ! A movement from one
of Beethoven ' s grand sonatas , a fugue ; of Bach s , and a movement from one of Mendelssohn's most charming sonatas , were the three pieces chosen to exhibit the resources of her style , and the last was sufficient to convince every one in the room that a genuine artist was before tnem—a player with feeling , power , brilliancy , and colour . I do not find it easy to describe musical effects , biit'if you will let me borrow an image from Science I think I shall succeed better . ! Do you happen to know -what fulguralion is ? I mean ; that suddenbrightening ofthe melted gold and silver when the last film of vitreous lead arid copper leavesi the surface of the metals in the assayer's cupel . IVell , Mdlle . Clauss plays with sudden and enchanting fulgurations . I wiU not presume to draw' comparisons between her playing and that of other pianists , but the sum total of my impressionis , that if Iona to hear her again ! ¦ impression is , that Tlong to hear her again I ¦ to Beethoven 18
The rest of the concert was devoted ' s quartet ( op . , ' No . 6 , B flat ) , Mozart ' s quintet in D , and Mendelssohn ' strio in D minor . They were unequally played . I am not certain whether the fault lay with the second violin and the over modesty of the '' modest viola , " or whether Sivori ' s sensuous and effeminate style affected the rest , but the result was that Beethoven was not played with the requisite vigour and relief . Nothing can be much more beautiful than the introduction to the j ^ / e—^ % he melancholy wail of some anguished spirit—nor was there a fault to be found with its , execution ; but the peculiar rhythm of the adagio was less successfully given than I have heard it : and the whole of Mozart ' s quintet , except the finale , was liurt by the want of weight in the secona violin and viola . 1 notice the defect :, a column would be insufficient to record all the beauties—but they are notorious ! Vivian .
The Joanna Wagner Controversy, Which Has...
The Joanna Wagner controversy , which has kept London in a fever of expectation for the last fortnight with a cross-fire of rival announcements and electric despatches , is finally solved by the appearance of the prima donna at Covent Garden . Her father has addressed a very satisfactory statement to the daily papers , of which the following analysis is from the Times : — " Herr Wagner declares that the director of the Royal Italian Opera , as early as 1850 , made several . propositions to his daughter Mademoiselle Wagner , which her continental engagements prevented her from accepting , and that in tho autumn of last year these propositions were renewed , hut that owing to circumstances wholly uninteresting to the public , Mademoiselle Wagner was induced to give the preference to Her Majesty ' s Theatre , with the director of which cstahlishment she signed a treaty for the present season . Herjp Wagner further states , that in the course of last month , his daughter received several letters * from t » e director of tho lloyal Italian Operato whichconsidering herself bound to tho
, , other theatre , she did not reply . An important stipulation , however , in the engagemont with her Majesty ' s Theatre , which was to have been earned out on the 15 th of March , not having been fulfilled , Mdlle . Wagner , on tho 5 th <> l tho present month , regarding the old contract as null and void , concluded n new one with tho director of the Royul Italian Opera . The object of Hew Wagner ' s letter is to defend his daughter , who throughout acted under . tlio advice of himself and her most intimate friends , from the charge of having nctct inconsiderntoly towards the director of tho theatre for which sho signed hor las _ treaty . Instead of one day between tho date agreed tipon for the fulfilment o ' tho stipulation alluded to and its absolute tender by an uuthovized agent of r ei Majesty ' s Theatre , Herr Wagner states that not Ichh than four weol ; s bad olapw before Madoinoisello Wagner signed a contract with tho rivol establishment although , on tho 7 th of April , a formal notico had been transmitted to tho direct of Hor Majesty ' s Theatre , in which Mdlle . Wiigner declared that sho coiu » dcn
herself no longer bound to that establishment . " Mdllo . Wagner was in a box at Covent Garden at the first performiinoo of I Martin ' , and every lorcjnctto was upon the [ heroine of the mys cation . To-night , as Fides to Mario ' s ProphUe , she encounters the oru < ^ of her own great fame , and we have no doubt she will achieve that siu--which has already been " thrust upon" her . Mario and formes wo flii " be glad to welcome back again on so interesting an occasion .
' London Wednesday Concerts. The Fourth ...
' LONDON WEDNESDAY CONCERTS . The Fourth Concert on Wednesday last restored to us qnce more . lot 7 TrefiVtho true darling of tho English public ; we had wwlly'carea * charming singer had loft us " for good and all ; " and we could mm tQ her . Well ! here she in again , more gonilo to look upon , J" ° J * , y otty listen to , than over . No one Bines a tender or playful ballad Jik < < ^ Trofiis : hor heart seems to bo in her oyea and in her voice ; and vn- ^ pure , bright look , and touching , artless simplicity of manner , « ' j awny tlio ' hoarts of her audience '; how cruelly and how doliciousiy » wo recount liow many dncores eho received on Wednesday f veml , j ? licort $ , Old Bralmm , who makes his hut nj ) pearance at each at those w was in great force ; and Bottesini and Sivori wore—thorn pelves .
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Citation
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Leader (1850-1860), April 24, 1852, page 22, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/l/issues/cld_24041852/page/22/
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