Christine Nilsson Concert: 8th

“A very crowded audience was in attendance at Steinway Hall last night, and listened with evident gratification to an interesting programme. Miss Nilsson sang the ballad and the jewel song from ‘Faust,’ ‘Auld Robin Gray,’ ‘Home Sweet Home,’ and the Miserere scene from ‘Trovatore.’ In this latter she evinced a greater breadth of style than she has hitherto done here. She omitted the beautiful andante which preceded the Miserere and which is one of Verdi’s most exquisite inspirations. ‘Auld Robin Gray’ was a very pure and delicate specimen of ballad singing.

 

Miss Cary sang in excellent style the ‘Nobil Signor,’ from the ‘Huguenots,’ and took part in a duet by Donizetti, and a trio by Rossini. Brignoli, who has been in admirable voice during the present concert season, was warmly received. Vieuxtemps played his ‘Polonaise,’ winning an immediate encore, and then giving some grotesque variations on a familiar Irish air.”

“Mdlle. Nilsson has recently given us one or two opportunities of hearing her, in a fragmentary sort of way, in the music of Faust’s Marguerite, in which she won in Europe a celebrity hardly inferior to that of her Ophelia. Last night she sang the Chanson du Roi de Thule and the ‘Jewel Song,’ and we must frankly say that in both she filled us with profound disappointment. Of the ‘King of Thule’ she gives only one stanza, omitting that charming spoken recitative generally introduced between the verses, and passing at once to the Jewel Song with an abruptness which shows a singular insensibility to the poetic character of both these well known pieces. The chanson was well sung, and delicately sung, but it lacked that indescribable something which language cannot well define any more than art can teach—that aroma of sentiment and dreaminess which makes Gounod, in his happiest moments, the most exquisitely poetical of all living composers, and ‘Faust,’ when properly interpreted, the most delicious of modern operas. Miss Kellogg has caught this sentiment perfectly, and we only tell the plain truth when we say that her ‘King of Thule’ is so much better than Mdlle. Nilsson’s that there can hardly be a serious comparison between them. The ‘Jewel Song’ as the fair Swede give it is still less pleasing that the other part of her selection, for it not only lacks true delicacy, but it abounds with affectations. Judging from these two specimens indeed, we should place Mlle. Nilsson’s Marguerite not only below Miss Kellogg’s, but below Minnie Hauck’s, and even, so far as comprehension of the music goes, below Mme. Frederici’s. Mr. Maretzek’s orchestral accompaniments were pretty good, but there is only one conductor who has ever done justice to Gounod in New York, and that is Carl Bergmann.

 

After the ‘Faust’ selections, Mlle. Nilsson sang the ‘Miserere’ scene from ‘Trovatore,’ with Mr. Brignoli and a—well, a chorus we believe they call it. In this, though it was not so well suited to her powers as many other pieces she has chosen, she was far more satisfactory than in her previous efforts. Of the rest of the programme it is unnecessary to say much except that Miss Cary gave the Nobil signor from ‘The Huguenots’ delightfully; that Brignoli and Verger were both in good voice; that Vieuxtemps was unduly kept in the background; and that Mr. Bosoni played some good accompaniments.”