Maretzek Italian Opera: Lucrezia Borgia

Event Information

Academy of Music

Manager / Director:
Max Maretzek

Event Type:

Record Information


Last Updated:
25 January 2016

Performance Date(s) and Time(s)

09 Mar 1867, 1:00 PM

Program Details

La Sonnambula originally scheduled, but changed because of the illness of Amalia M. Hauck.

Performers and/or Works Performed


Advertisement: New-York Times, 04 March 1867.

Advertises Sonnambula.

Advertisement: New-Yorker Staats-Zeitung und Herold, 04 March 1867.
Announcement: New-Yorker Staats-Zeitung und Herold, 04 March 1867, 8.
Announcement: New-York Times, 07 March 1867, 5.

Annouces Sonnambula.

Announcement: New-York Daily Tribune, 08 March 1867, 8.
Announcement: New-Yorker Staats-Zeitung und Herold, 08 March 1867, 8.
Announcement: New York Post, 09 March 1867.
Announcement: New-Yorker Staats-Zeitung und Herold, 09 March 1867, 8.
Review: New York Post, 11 March 1867.

“Amusements. Italian Opera. The illness of Miss Hauck occasioned a change of programme for the Saturday matinee, on which occasion ‘Lucrezia Borgia’ was substituted for ‘La Sonnambula.’ Madame Poch was an acceptable substitute for the rising young prima donna, whom we trust we shall hear in full voice in a few days. In spite of the unpleasant weather the Academy was well filled with the fashion of the city and of the suburbs.”

Review: New-York Times, 11 March 1867, 3.

“Amusements. The illness of Miss Hauck—an illness to which all singers are liable who are not possessed of voices that like patent lucifers are ‘warranted for any climate’—brought about a change of opera at the Academy at the matinee on Saturday. Mr. Maretzek substituted ‘Lucrezia Borgia’ for the ‘Sonnambula,’ and Senorita Carmen Poch, being in good voice and spirit, made the handsome audience present entirely content, at least with the change of prima donnas.”

Review: New-York Daily Tribune, 11 March 1867, 4.

Lucrezia Borgia was given for Saturday’s matinée at the Academy, instead of La Sonambula, as announced. Miss Hauck did not appear owing to her illness, and Mlle. Carmen Poch, a prima donna whom the public have learned to regard with considerable favor, assumed the role of Lucrezia. The voice of Mlle. Poch is full, and well qualified, and her action generally spirited and capable. Madame Testa’s Orsini was wanting in mellowness—‘Il se gretto’ will explain what that means—but on the whole it was liked and applauded.”

Review: New-York Daily Tribune, 12 March 1867, 4.

Reviews multiple performances. “Maretzek has thus far produced three favorite operas, none of which boast absolute novelty, but all of which have presented a fresh and excellent vocal strength. . . . Lucrezia has presented Mlle. Carmen Poch in a part well suited to her ability.”

Review: New-Yorker Musik-Zeitung, 16 March 1867, 505.

The theater was completely filled.