Christine Nilsson Concert: 6th

“The sixth concert of Mlle. Nilsson, given at Steinway Hall, was in every respect up to the standard of those preceding it. The house was full, the fair prima donna as bewitching in voice and appearance as before, and the support the same as usual. Mlle. Nilsson sang the scena and aria, ‘The King of Thule,’ from Gounod, including the jewel song from ‘Faust;’ a duet, ‘Parigi o Cara,’ ‘Traviata,’ Brignoli as Alfredo, and the grand aria ‘Durch den Wald,’ ‘Der Freischütz.’ Her reception was rapturous and her performance repeatedly encored. With each succeeding concert of this series the desire increases to see Mlle. Nilsson in opera. Presenting her to the American public in concert only is much like the case of the man who, having purchased a masterpiece of the painter’s art—beautiful in design and exquisite in drawing and coloring—and being desirous of exhibiting it to his friends, should invite them to see it by candle light. Enough could be seen to appreciate the value of the work, but its greatest beauties could only be imagined. Seeing Mlle. Nilsson in concert one can understand how she would be great in opera. The mobile, intellectual face, the large speaking eyes, and the lithe, supple form, all indicate a power of dramatic expression which, united with her wonderful voice, could not fail of success. It is to be hoped the opportunity for seeing her thus may be given before the close of her visit.”

“There is no falling off in the attendance at Miss Nilsson’s concerts. The sixth, which was given last evening, was as crowded as its predecessors. One of the best tests of real artistic greatness is whether the singer or player still gains on one’s esteem after repeated hearings.” [Remaining twenty-one lines too faint to be legible in NYS Historic Newspapers database.]

“Very welcome changes in the programme made the concert given last night by Miss Nilsson and her associates one of especial interest. Three compositions the artist had not hitherto interpreted were sung by her. The scene and air from Gounod’s ‘Faust,’ embodying the ballad of ‘The King of Thule’ and ‘The Jewel Song,’ supplied the artist with a fresh opportunity—though the piece is far less descriptive than that which she has made famous in ‘Hamlet’—to display that variety in reading affording such delightful anticipations of an ultimate appearance on the lyric stage. The recitation of the grand scene and air from ‘Der Freischuetz’ was conspicuous for liberality and nicety of shading, and for purity of execution, though a warmer voice would have endowed the prayerful passages with a greater charm. Miss Nilsson’s share in the duet ‘Parigi O Cara,’ was her third contribution to the entertainment. Signor Brignoli sang, as his single solo, ‘La Mia Letizia,’ from ‘I Lombardi,’ one of his best known pieces, but less suited to his method than the familiar romance from ‘Martha’ or the pretty serenade from ‘Don Pasquale.’ Signor Verger interpreted for the first time in this country the baritone’s drinking song from Thomas’s ‘Hamlet,’ a composition without tunefulness or dramatic significance. Miss Cary sang ‘O Mio Fernando,’ from ‘La Favorita,’ an aria not written for a contralto, and therefore ill-fitted to sound the rich notes of the artist’s voice. Mr. Vieuxtemps played a fantasia on ‘Lucia’ with more than usual sentiment, and with the perfect accuracy of intonation so unfrequently attained by violinists and so absolutely under his control. The duet ‘Solo Profugo,’ from ‘Martha,’ by Signori Brignoli and Verger, and the duet from ‘Il Barbiere,’ by Miss Cary and Signor Brignoli, formed the remainder of the bill.”