Christine Nilsson Concert: 7th

“The usual assemblage of the critical, the refined and the fashionable portion of the community greeted Christine Nilsson last night at Steinway Hall. The house presented a most brilliant appearance, and the appreciation of the artists was manifested by frequent and judicious applause. The programme was rich in charming morceaux from Auber, Mozart, Meyerbeer, Donizetti, Handel and Verdi—variety enough, selected from the genius of all these composers, one would suppose, to make a good concert bill. With the excellent company supporting Mlle. Nilsson none of the composers suffered last night. Nilsson herself was superb in the ‘Tace la Notte,’ from ‘Trovatore,’ and as sweet and charming as ever in Handel’s simple song, ‘Angels ever bright and fair,’ which would almost seem to have been written for her pure, limpid voice. The introduction of the plaintive negro melody, ‘Old Folks at Home,’ in response to an encore, was a little surprising, but was received with considerable pleasure and applause.”

“The Nilsson concert last night at Steinway Hall was an admirable one. The fair prima donna sang ‘Angels ever bright’ and scenes from ‘Trovatore’ and ‘Betly;’ and in response to an encore, surprised all with the plaintive Ethiopian melody, ‘Old Folks at Home,’ singing it with a tender pathos that affected the audience to a wonderful degree.”

“The seventh concert of Mlle. Nilsson was, like the former ones, splendid in programme, execution and in the fashion and numbers of the audience. Twelve pieces constituted the programme, of which Handel’s ‘Angels Ever Bright and Fair,’ Verdi’s ‘Tacea la Notte’ (‘Trovatore’) and the ‘Betly’ cavatina of Donizetti were the selections heard from Mlle. Nilsson. Of the first grand effort we have already spoken. The second was received with much pleasure. To the ‘Betly,’ however, the palm must be accorded as the chief and most unequivocal success of the evening. Mlle. Nilsson sang this cavatina magnificently and was rapturously encored. Signor Brignoli sang the favorite romanza from ‘L’Africaine,’ and, with Miss Cary and M. Verger, the trio from ‘Il Barbiere,’ with his best fire and accuracy; and Miss Cary deepened the excellent impression she has made by a remarkably fine performance of the contralto song ‘Nobil Signor,’ from the ‘Huguenots.’ Mr. Vieuxtemps added greatly to the gratification of the audience by his splendid execution, and the vast assemblage dispersed in the best humor, to the massive strains of the ‘Coronation March’ in the ‘Prophete.’”