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'Alas! unmindful of their doom, the little victims play; No sense have they of ills to come, or cares beyond to-day. ROSALIND The Lady Bell-Pepper. PHOEBE The Duchess of Sweet Marjoram. AUDREY A talented Incognita of the Court. ORLANDO Hennery Irving Salvini Strong. Paul Winship. Scott Burton. The Comb Orchestra will play the Music of the Future. The Usher will pass pop-corn between the Acts.
The whole performance is, as I said, so full of gusto and a headlong unity; the personality of Macbeth is so sharp and powerful; and within these somewhat narrow limits there is so much play and saliency that, so far as concerns Salvini himself, a third great success seems indubitable.
One of the greatest of the living examples of the school of realism is my illustrious fellow artist, Signor Tommaso Salvini, with whom, for a number of years, I had the fortune to share the fatigues and the honours of the profession which I also shared with Ernesto Rossi. The former was and is still admired.
And while the great man was "walking into the character," the actors who supported him smoked cigarettes at the stage door until the dash for dressing room and costume. Some women scold because he has not given pictures of the great people whom he met. Such portraits would be interesting." But Salvini was not painting portraits, not even his own truly.
But next morning, when we came to that scene, Signor Salvini held up his hand for a halt in the rehearsal, called for Alessandro, and, bidding him act as interpreter, said, smiling pleasantly, to me, "Now zee i-dee please you, madame?" for young Alessandro had betrayed my confidence. There was a mocking sparkle in Salvini's blue eyes, but he was politely ready to hear and reject "zee i-dee."
"Y-e-es," sweetly acquiesced the star. "Y-e-es, you cross, I see but what for?" The actor hesitated. "You do so," went on Salvini, giving a merciless imitation of the swelling chest and stage stride of the guilty one, as he had crossed from centre down to extreme right. "You do so but for why? A-a-ah!" Suddenly he seemed to catch an idea.
The fame of this tragedy soon spread through Europe; and it has not only been translated, but acted in most of the languages of Christendom. The Translation of it into Italian by Signor SALVINI is very well known: but I have not been able to learn, whether that of Signor VALETTA, a young Neapolitan Nobleman, has ever been made public.
In 1865 occurred the sixth centenary of Dante's birthday, and the four greatest Italian actors were invited to perform in Silvio Pellico's tragedy of Francesca di Rimini, which is founded on an episode in the Divina Commedia. The cast originally stood on the play-bills thus: Francesca, Signora Ristori; Lancelotto, Signor Rossi; Paulo, Signor Salvini; and Guido, Signor Majeroni.
In 1849, Salvini entered the army of Italian independence, and fought valiantly for the defence of his country, receiving in recognition of his services several medals of honor. Peace being proclaimed, he again appeared upon the stage in a company directed by Signer Cesare Dondini. He played in the Edipo of Nicolini a tragedy written expressly for him and achieved a great success.
We must conclude from this that, in regard to dramatic singing, many opera-goers are still a good deal like the honest Scotchman who, on his first visit to a theatre, climbed on the stage and administered the villain of the play a sound thrashing; or, like the Bowery audiences, which applaud the good man in the play, no matter how badly he acts, and hiss the villain, though he be a second Salvini.
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