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Ina KLOSKING worked night and I do take on me to say that the day upon “Siebel” in Gounod's individual Herr who executed Doc“Faust,” and upon the songs that tor Faustus at Homburg that night, had been added to give weight to had everything to learn, except what the part.
he had to unlearn. His person was She came early to the theatre at obese ; his delivery of the words was night, and sat, half dressed, fatigued, mouthing, chewing, and gurgling; and nervous, in her dressing-room. and he uttered the notes in tune, but
Crash !-the first coup d'archet without point, pathos, or passion; a announced the overture, and roused steady lay-clerk from York or Durham her energy, as if Ithuriel's spear Cathedral would have done a little had pricked her. She came down better, because he would have been dressed, to listen at one of the upper no colder at heart, and more exact in entrances, to fill herself with the time, and would have sung clean, musical theme, before taking her whereas this gentleman set his windpart in it, and also to gauge the pipe trembling, all through the busiaudience, and the singers.
ness, as if palsy was passion. By The man“Faust” was a German; what system of leverage such a man but the musical part "Faust" seems came to be hoisted on to such a pinbetter suited to an Italian or a nacle of song as “Faust," puzzled Frenchman. Indeed some say that, our English friends in front as much as a rule, the German genius excels as it did the Anglo-Danish artist at in creation, and the Italian in repre- the wing; for English girls know sentation or interpretation. For my what is what in Opera. part I am unable to judge nations The “Marguerite” had a voice of in the lump, as some fine fellows sufficient compass, and rather sweet, do, because nations are composed though thin. The part demands a of very different individuals, and I better actress than Patti, and this know only one to the million ; but Fraulein was not half as good : she
VOL. CXX.—NO. DCCXXIX.