"The scene of the scarf is laid in Scotland. The mountain sylph is a fairy, and falls in love with the tenor, a young Scotchman. The baritone is a Scotch necromancer. The young lover, fearful of losing his fairy love, appeals to this demon for aid; and he, wishing to destroy the power of the fairy, gives the young man the 'Magic-wove Scarf' to throw around her. He told him that the scarf would secure her. He was enticed, and threw the scarf around; but, the moment it touched her, she became spell-bound, and is supposed to die, but is released by a fairy of superior power.
"The trio opens with a fine baritone solo; and, considering Mr. Hyers is not a professional singer, the part was creditably rendered.
"The tenor, Miss Emma, conveyed the author's meaning truly; and her imitation of that voice took her to the F sharp below the staff. This note was intoned with perfect ease.
"In Miss Anna's part there are some beautiful rouladial passages, which were delivered by the young lady smoothly and distinctly; and, when she became spell-bound by the scarf, her espressivo and energico were fine.
"The trio throughout was creditably performed, and was loudly applauded by the audience.
"'Brighter than stars soft gleaming,' from the opera 'Il Trovatore,' is a fine composition abounding in espressivo and bravura passages: the compass is also extensive, requiring great range for a baritone voice. The piece was rendered with credit by the young vocalist Le Count.
"A very choice selection from Donizetti's opera of 'Lucia di Lammermoor' followed, and was sung by Miss Anna Hyers. The first line of the English words is, 'See, 'tis the hour: how sinks the sun!' The whole of this movement is in the affetturoso con amoroso style; and in order to render such a theme effective, as love without hope, but still hoping, the singer must throw a vast amount of pathos into the subject to secure a fine interpretation; which rendition by the artist was all that could be required. The second movement is in D major. The words of the principal line are, 'Grow dark, yes, love's pure flame grow dark, like earthly fire.'
"The author has interpreted these words with rapid sextoles (groups of six notes) and triplets in difficult intervalic skips, and finishing with an intricate florid cadenza in seconds and thirds. Many passages of the same form may be found in Handel's 'Messiah.' The young lady not only glided over these difficulties with ease and grace, but also brought out the espressivo so necessary for the effective rendition of this division. The remaining portions of this fine composition are much varied with rapid executions; and the compass of voice required for effect is extensive, ranging from C above the staff to C below. Every point was delivered by the young vocalist with purity and force.
"I believe this young lady's compass of voice is from E flat above the lines to A below; having at her command the soprano register, the mezzo-soprano, and a portion of the alto.
"Both of the sisters sing in the Italian with fluency and with correct pronunciation.