The following criticism of the performance, by P. A. Fiorentino, appeared in Le Constitutionnel for the 22d of April:—
Ole Bull has given a grand concert at the Théâtre Italien. All the Norse courage and daring was needed in venturing to offer the public a very battle of five violin pieces. What fire and what power! But a favorable result justifies the greatest rashness, and Ole Bull, in the course of the evening, showed us that he was not over–sanguine in regard to his powers. He first played variations of a diabolic difficulty and originality on Bellini’s aria: “L’amo, ah, l’amo, e m’è più cara.” It was as if the spirits of hell, sunk in dark despair, must love and long for the light of heaven. Paganini’s “Carnival,” which, as by magic, carries us to Via del Corso, in the very midst of the ringing laughter and joyful abandon of the Maccolettians, was repeated at the emphatic demand of the audience. “A Mother’s Prayer,” composed by the artist beneath the quiet arches of the cloister of Santa Maria, is a great and severe piece, full of mystic tenderness and religious warmth. Finally, the “Polacca Guerriera,” which we had twice heard before, seemed to us more and more to merit the enthusiastic reception the public is everywhere giving it. Ole Bull sang splendidly last night. He was applauded and recalled so many times, that he might have believed himself in Venice, Florence, or Naples.
In May Ole Bull was playing in Bordeaux, to the rapturous applause of that city. Before his departure, he gave a banquet at the Hotel de la Paix, to which the Courrier de la Gironde refers as follows:—
The apartments which Ibrahim Pacha had occupied a fortnight previous were fitted up for the occasion, and were truly regal in the elegance of their appointments. The large salon, especially, was dazzling; and the brilliant toilets of the fairest ladies of the city heightened the effect, as they clustered about the piano. All persons in Bordeaux distinguished for talent, rank, or wealth, participated in the reception. A quintette, by Mozart, was played by the artist with our ablest amateurs, and a duet for piano and violin, by Mayseder, was accompanied by a lady. Compositions and improvisations of the violinist followed. As a host, Ole Bull was a prince; one of the most distinguished ladies present remarked, when she saw him receive with the exquisite courtesy and aristocratic charm of manner peculiarly his own, that Ole Bull seemed to her that evening a second Count of Monte Christo.... No artist has ever been received with so much distinction and enthusiasm in Bordeaux.
At the end of the month he filled a most successful engagement in Toulouse, where a fête lyrique was given in his honor by the residents of that city at the Théâtre du Capitole. In Lyons he gave a concert for the benefit of a poor actress, who, friendless, and unable to obtain an engagement, had been driven in her despair to attempt suicide.
In July he appeared in Marseilles, where he had full houses, although he complains in his letters that, as his concerts had not been well announced or arranged in advance, his profits were less than they should have been. His financial success could not always be measured by his artistic triumphs. The Marseilles Le Sud said of him:—
His place is between Paganini and Liszt. If we were asked what distinction we would make between the young Norse artist and the immortal Genoese virtuoso, we should answer, that, so far as talent is concerned, the question is a difficult one. Who among us remembers with sufficient distinctness the marvels performed by Paganini’s bow in this place ten years ago, to be able to determine with exactness whether Ole Bull overcomes equally great difficulties? It is possible that at certain moments Paganini’s manner was even more wonderful and powerful; but nothing is more certain than that Ole Bull is his equal, if not his superior, in beauty, warmth, tenderness, and variety. When, on the other hand, we leave out of the account purely technical questions, which even artists themselves cannot decide, it must be admitted that admiration is more readily accorded to the frank, modest, unselfish young man, who has given evidence, in many ways, of an exalted nobility of character....
A no less electric enthusiasm broke forth again and again, when the artist played the “Carnival of Venice,”—his own variations. One can hardly imagine with what power of originality Ole Bull has mastered this favorite theme of Paganini’s. He is especially brilliant in the humorous part. If we remember right, Paganini did not produce that natural and gushing sprightliness in the conversation between Punchinello and the policeman. It is strange enough, that the Northman has been able to put more sly cunning and rollicking fun into the scene than the Italian Mephistopheles. Ole Bull ends this composition with a bird–song, which is the most surprising imitation one can imagine. Here his instrument is no more a violin, but a gathering of the most charming song–birds.
Ole Bull here met frequently with his friend Hans Andersen, who was visiting Marseilles.
In the autumn of 1847 he crossed the Mediterranean to Algiers, joining his friend General Youssuf, and they had many an exciting adventure on their journey across the desert. He had his violin with him and played for the officers in the little town of Milianah. His audience was a singularly mixed one, being composed of Europeans, Arabs, and negroes; and the expressions of admiration or wide–mouthed astonishment which followed his playing were in keeping. The violin case had been given by General Youssuf, with strict instructions, to the keeping of two Arabs; they regarded it with a holy awe, and handled it with the greatest care, too proud of their trust to permit any one to come near it.