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620 THE LEADER, J*To. 379, Sa.ttxrdAT
FAZIO. " Only the other day (wrote M. Fh...
HER MAJESTY'S THEATRE. Signor Belart, a ...
RUBINSTEIN. At the Musical Union on Tues...
MR. AND MRS. WEBB'S ENTERTAINMENT At the...
THEATRICAL NOTES. saffifasrss^ & as •= ,...
¦ - — 'Y . Madame Ristotil-^Camma. Comma...
is not . sufficiently , present ; so that we are scarcely prepared to conspire with Comma to poison him . At last Sinoro enters , with an unfortunate winged helmet and red cloak , afterwards exchanged for rich robes and an absolutely comic head of red hair . From that moment we find it Impossible to hate him with proper energy . Ristori in vain trembles ,, raves , and Expresses with that wonderful power of pantomime and physiognomical play which is peculiar to her , all the gradations of her passion . The idea of exaggeration is ever powerfully present . Indeed , the actress has an intuitive perception that this is the case , and gives a slightly maniacal interpretation to some of the passages . We follow her with interest ; but Sinoro neveririses to a greater tragic height than Bucklaw slain in the chamber of Lucy Ashton . His admission of crimeseven the horrid detail of tearingfout the heart of his victim—which comes as an episode in his passionate declaration of love , is , dramatically speaking , insufficient to constitute him . a villain . Signor Gleck , whom it is the fashion to speak of disdainfully with Signor Boccomini and the rest , but who plays with an energy and a taste that almost make us forget his ludricous costume—terminating , by the way , for some mysterious reason , in Phrygian breeches , and , we think , yellow leather boots—Signor Gleck , we say , in vain struggles to deserve
the summary chastisment preparing for him . We rather pity him as we see him with so much simplicity falling into the toils of a mad woman . The opportunity occurs of justifying Camma in accordance with the laws of the stage . Oh ! for Mamx > wb , artificer of horror , to have taken advantage of it ! Talese , the bard , friend of the murdered Sinato , beards the new tetrarch , endeavours to thwart his hopes , and in every way shows a contempt for his power . He is only mildly threatened with imprisonment , and allowed to stay and see the wedding ; whereas a cruel death , that might have aroused the passions of the audience , should at once have been inflicted on him . Then , indeed , should we have been prepared to behold Camma , under the excitement of the new crime perpetrated before her own eyes , lure the monster who had made her a widow to his fall . As it is , nothing but the overwhelming grace of the great actress prevents our sympathies departing from the Druidess , and we cannot help feeling that Sinoro is illused . It is with some remorse we see him borne off the
stagea remorse , it is true , forgotten in the splendid death-scene that follows ; but that recurs when we look back over the whole story . We scarcely remember to have seen a play that was dramatically so unsatisfactory . It is , moreover , remote from an English audience by its scene , its date , its characters , the ideas referred to—its whole moral atmosphere . Signor Montanelli seems to have been influenced to take up some Druidical notions that have acquired an arbitrary value in his eyes ; Here and there are transparent allusions to the condition of _ Italy under the Austrians ; but we should not like to suppose that Comma is the model proposed for the enslaved . However , speaking from a literary point of view , Camma is possessed of true merit . There may be too many figures drawn from" physical nature , but the style is warm arid . flowing- —altogether eloquent writes
in fact . In mere diction , * perhaps , Signor Montanblli is too finicking . He destriere , which Madame Bistort , fond of popular words , changes to corrier * ; and , instead of uomo , squeamishly in most Italian phrase has cavaliere , which , with great simplicity , Mr . Thomas Williams translates ' knight . * Yet Camma , we repeat , is a remarkable production , considering , that it was composed with the not very legitimate object of enabling one actress to display her peculiar powers . This is rather a humiliation for literature . A dramatist must take the company he writes for into account ; but his first duty is not to give any particular actor an opportunity of showing off . Indeed , by so doing , he encourages the fatal facility with which actors degenerate into mannerism . Variety of effect is in realify only possible with variety of character . An actor ' s first , and indeed only , business is to interpret .
620 The Leader, J*To. 379, Sa.Ttxrdat
620 THE LEADER , J * To . 379 , Sa . ttxrdAT
Fazio. " Only The Other Day (Wrote M. Fh...
FAZIO . " Only the other day ( wrote M . Fhilarete Chasi . es in reference to M . Frederic Sound ' s drama Clotilde ) our modern Parisians had no idea that the prose drama being represented before them in French dresses of the day , had its origin in a novel by Lasca , dramatized in the sixteenth century by an Englishman , and worked up again in the nineteenth century by Milmant under the title of Faxio . " The English audiences , who were moved to tears by Miss O'Neill in 1818 , who were shaken with terror and emotion by Miss Cushman when ahe first-appeared as Bianco , in London some years ago , who were struck with awe and pity and admiration by Miss Glynn's Biancain 1853 , and who now in this present summer are startled into unconventional manifestations of sympathy and compassion by the tragic grandeur and almost ideal beauty of Madame Ristori ' s impersonation—the English audiences , we say , and perhaps we may add the English criticsarc quite as much disposed to give Dean Milman full
, credit for the tragedy which we believe he wrote at college , as the French audiences to accept Frederic Soulie ' s Clotilde for an original drama . An Italian proverb assures us that a tragic work by a priest is rarely good and complete . It would be ungenerous to apply this proverb to Dr . Milman ' s composition , the imperfections of which belong rather to unripeness and to that propensity to rhetorical redundancy which * is commonly found in young dramatic writers who have steeped their pens in Elizabethan ink . It cannot be said that Giraldi Fazio is an interesting hero . In the first scene only he engages our interest and sympathy for a moment , as the poor alchemist , rich 'in the wealth of love . ' Even here , however , there is a feeble flirting fickleness about the fellow which makes us half angry with his wife for loving such a trifler , and from the moment when he is rescued from his studious poverty by theclieap and easy process of larceny not quite ' petty , lie becomes simttlv contemptible . As a lover he forsakes the noblest of women for Alda
a heartless courtesan , the play thing of his own idle vanity as much as of - fceMaVviperous fascinations . In the last scenes , indeed , after his condemnation to death , , he is almost a new manf He has gleams of courage , dignity , and nobleneeB , w )» ioh transform the vain , larcenous , fickle Fazio of the earlier scenes into a hero-worthy of . Stonca ' a love , and not unworthy of her jealous hate } but throughout the tragedy it is to Bianca that the supremacy of the scene belongs . And moat nobly does Madame Ristori assert this supremacy , not only in the strong situations , of the drama , b ^ t In those delicate and subtle transitions , those subsidences of emotion which distinguish the true artist from the conventional dauber . In , the course of the tragedy , Madame Ristoki traverses the whole scale of passion—rlove , hate , tenderness , jealousy , pity , terror , revenge , remorse , rapture ^ desolation— every chord is touched with the instinct and the impulse ot womanly sympathy and commanding genius . In her attitudes , there is at one moment An undulation and a flowing grace ; in the intonations of her voice , a sweet persuasion and a caressing tenderness j at another , a flashing desperation and a fateful scorn . . Take heed : wo are passionate $ our milk of lovo , ,. Doth turn to wormwood , and that's bitter drinking . What infinite sweetness In her tone , when , after she has brought the
tremendous charge against her husband , she learns that the disastrous sold is * . ««<» - to the State ! 8 1 B cont iscated • • . Ebbene Vivrempoveri ancora , eti perdono . Poveri , ma felici , e i nostri giorni ¦ . Scoweran come pria r apidi e lieti . When Fazio is torn from her— . ¦ r ¦ i Oh ! non , ancor l ' arresta No tu non dei morir !—she makes herself a shield between him and death . When Fazio is gone and th solitary prison cell and couch of straw are empty , how the utter loneline creeps over her sense and spirit I Madame Ristori does not represent the d sertion and the death of the heart in conventional starts and sobs but bv thl instinct which is the soul of the highest art , she lets you see the aeonv tor turing , convulsing , laying waste and blank the wbm wan face , and sweeDinw pallid brow , and trembling mouth , like a wind-harp . e s
Saran confuse nelT estremo aihplesso . Le nostre vite . . . ed io libera forse Prjina di te . . . We sometimes hear it said that Madame Ristori ' s propensity to the sculpturesque gives a certain formalism and sameness to her various impersonations and that many of her attitudes in Bianca are familiar to those who have seen her Medea . There is , no doubt , some ground for this criticism ; but the truth remains that no living actress ( we are no bigoted believers in the dead ) can transfix the senses and sway the emotions of an audience like Eistobl The
great tragedienne was , on this occasion , better supported than usual by the rest of the company . Signor Bellotti-Bon , an experienced actor of some standing in Italy , performed the single scene in which Bartoldo the Miser appears , with sufficient ability to confirm his continental reputation . Signor Vitahani is if not entirely satisfactory , at least a more than tolerable Fazio , and Madllel Ferroni , too cold , perhaps , and not quite , distinguished enough for a Florentine Marchesa of the fifteenth century , is not an unseductive Aldabdla , save that there is too much of the dove and too little of the snake in her composition . Fazio will certainly be the success of the present season of Madame Ristori ' s performances in London .
Her Majesty's Theatre. Signor Belart, A ...
HER MAJESTY'S THEATRE . Signor Belart , a Spanish light tenor , with a sweet , flexible , and elegant voice , not ill-trained nor ill-managed , made his first appearance at Her Majesty ' s Theatre , on Tuesday evening , in the Sonnambula , and obtained a positive success by the marked feeling and intelligence with which he sang and acted in the part of Elvino . Signor Belabt is a real acquisition to the company . Madame Alboni was the Rosina—and if not precisely Rosina , she was entirely Alboni ; and what more can be said to justify the delight and admiration of the audience ? She sang Ah ! non giunge as no one else can sing it in the world .
Rubinstein. At The Musical Union On Tues...
RUBINSTEIN . At the Musical Union on Tuesday last , the great Russian pianist played for the last time this season in England , but we have little doubt lie will be disposed to return to a country in which the most competent authorities are his warmest admirers . Rubinstein ( we do not know whether we ought to call him Monsieur or Herr ) is by birth a Russian , but as a musician he is essentially German , and at the fi rst glimpse of his head you are sure to exclaim " How like Beethoven ! " for it is almost a fac-simile on a reduced scale of that harmonious Titan . A terrible responsibility is such a likeness , but in this instance it is not unworthily sustained No pianist "nce ^ nnT has achieved at so early an age ( Rubinstein is not more than thirty ) so exceptional a reputation . At a bound he has placed himself m the foremost rank of the musical art . As a composer , we are not able to discuss h » » f » g » , £ . ™ iin < r to t . h * oninion nf those whose opinion is sincere and decisive , the wowes
, hi has already written indicate profound study and singularly rtpe MwngJJ ment , rather than the inventive and creative faculty ; a ™»^ ^ ^ J ^ S ! of the science rather than the possession of those gifts , which no amount ot stuay can bestow , and for which no degree of learning is a substitu te . But as an executant , we may honestly and emphatically pronounce Rubins tun the greatest living pianist . Liszt does not excel him in brilliancy , petHaps does not iqualhim in the perfect union of profound feeling and amazing ^ o ^ gjj strength and unaffected grace which , in all he touches , marks the hand of « c binstein . And to all his gifts and powers is added-the . ™ ™™ . g * rm of that unfeigned simplicity which , separates true genius from the counterfeit .
Mr. And Mrs. Webb's Entertainment At The...
MR . AND MRS . WEBB'S ENTERTAINMENT At the Dudley Gallery , Egyptian Hall , on Wednesday afternoon toit , wj and Mrs . wWappeareS ' under high patronage and with considerable succea n the entertainment which wo noticed some weeks since , when it was private y performed at Camden House , Kensington .
Theatrical Notes. Saffifasrss^ & As •= ,...
THEATRICAL NOTES . saffifasrss ^ & as = , ^ j ^ StJssjss bear promising names . Victims , the title of the comedy , suggests wr ™™ , mlt of se ? ious and sontlmentnl ( probably of feminine ) }» £ «¦* . ™ ' ' / os and Second Floor sqems to imply any amount of purely Buokstonoan aojr £ d »«« BatastronUes . Wo wish the worthy manager who has done so muon w the public heart a merry bumper on the 8 th . p g . Monduy l / B . andMrs . Charles Kean had their benefit at thePw *™» f ££ teA for tiight , when Richard II . was performed . That gorgeous « v » val jui » ° duisod . the last time next Monday ; and pn Wednesday' J *« ^ "J thjtio being of night rehearsal of this piece takes place on Tuesday—the tnoairo " Bourse closed to the public . . A „ ... on Mon-Mr . and Mrs . Barne * Williams again returnedtotho j ^^ ^ IoC 08 . lay night for a brief engagement . They merely played in thpir BtocK P
Leader (1850-1860), June 27, 1857, page 20, in the Nineteenth-Century Serials Edition (2008; 2018) ncse2.kdl.kcl.ac.uk/periodicals/l/issues/cld_27061857/page/20/