Christine Nilsson Concert: 12th

“The Swedish nightingale took her leave of the metropolis for a time last night. The programme was the best yet offered at these concerts, as may be seen from the following: [lists program].

 

The two features of the concert were the immortal quartet by Verdi and Weber’s grand work for the piano. Unfortunately for the former, the management made the same mistake as the composer did in the opera, by placing it too near the end, so that many of the audience left the hall before it was sung. The same happens often in the opera where it is placed in the last act. It could not be expected that this grand ensemble would produce such an effect in concert as it does in the opera. The situation can explain that. First we have the tenor solo, ‘Bella Figlia,’ sung by the licentious Duke, an impassioned love song, broken in upon by the ringing laugh of the coquettish Maddalena. Without we hear the wail of the betrayed Gilda and the muttered threats of vengeance by her relentless father, who seeks the life of the betrayer of his child. The weak point in the quartet last night was the light voice of Verger, which did not give point to the bitterness of the jester. In other respects, however, it was superbly rendered. The other feature of the concert, the Concerstück, received full justice at the hands of Miss Krebs. It is a severe test for a pianist, for every note is familiar to the bulk of musicians here. Her clear, crisp touch and wonderful execution made a still more favorable impression on her hearers than at any of her previous appearances. For a young girl not yet out of her teens she has made marvelous progress in the art. Age and experience will, of course, develop power, but nature has already gifted her with a rare delicacy and poetic instinct which no amount of cultivation alone can confer.”

“The last concert of the Nilsson troupe, in this city, for the present at least, attracted a fine audience to Steinway Hall on Monday evening. There can be no question as to Miss Nilsson’s acceptation with the public. She is certainly a most fascinating and admired singer. We enjoy her Casta Diva thoroughly, though we may easily recall artists like Grisi and Zucchi who sang it with a far grander expression; or like La Grange and Virginia Whiting-Lorini, whose execution of the more difficult passages was more exquisitely neat. But none of these had the matchless voice which is the great secret of Nilsson’s success.

The Swedish vocalist also sang last night Handel’s ‘Angels ever bright,’ imparting to it all the fervor of a sensitive mind, making it a piece of the day, instead of the last century, transforming it into a bit of tender religious sentiment, terribly outraging all the Handelian traditions, and carrying away the audience to irrepressible enthusiasm. For an encore she gave a little Swedish melody. Towards the close of the concert she took part in the quartet from ‘Rigoletto,’ in which she was assisted by Miss Cary, Brignoli and Verger.

 

Miss Cary, in her ‘Dinorah’ solo, gave a charming specimen of her best style, and displaying to good advantage her excellent voice. For an encore she sang a little song by Howard Glover—pretty in itself, but not adapted to her voice. Miss Cary has been steadily winning her way in public favor, and now enjoys a marked popularity as an effective contralto. Her approaching debut in oratorio may be anticipated with signal pleasure. This event will take place in a few weeks, on the return of the troupe from Boston.

 

We have only to add that Miss Krebs played Weber’s ‘Concert Stuck’ with much technical skill; that Verger sang admirably, and that Brignoli was hardly as successful as usual. The clever piano-forte accompaniments of M. Bosini are worthy of praise.”