Instrumental and Vocal Concert: 1st

“Mr. HARRISON’S ‘opening concert,’ ever since Irving Hall came into existence, has been one of the marked events of the musical season.  Almost every one connected with music, or interested in music, is present at it in some capacity or another, either as vocal or instrumental performer, or as a member of the audience.  The entertainment of last night formed no exception to the general rule.  A multitude of able artists sang and played to a still greater multitude of eager amateurs. [list of performers] The programme was made up of some of the choicest old-time favorites from the never-tiresome operas and a few quasi novelties. The favorite of the evening, if the deafening applause that somewhat peremptorily redemanded it may be regarded as an indication of the popular feeling, was the duo from ‘Elisir d’Amore,’ with Sig. FERRANTI in the Doctor’s rôle, and Madame PAREPA ROSA to interpret Norina’s infectious vivacity. The effect of this was quite dramatic and exhilarating beyond anything heard upon the concert platform in a very long time. Another interesting feature of the programme was Sig. ROCCO’S performance of a fantasia (by himself) for the harp on the ‘Traviata.’ Sig. ROCCO’S touch is fine and electrical—and an encore indicated the impression he made upon his audience. A new Italian song by MATTEI, written expressly for Sig. FERRANTI, is full of sprightliness and expression, and was sung by FERRANTI with that graceful freedom and gayety which makes him the favorite he is, and secures him the laborious honor of an unavoidable encore in everything he sings. We doubt whether Sig. FERRANTI was ever heard to more advantage than last night in this charming composition of ‘The Fisherman.’ Mme. PAREPA ROSA sang, in addition to the duo, HORN’S ballad ‘I’ve been Roaming,’ and for an encore a lively love ditty, which excited the audience to such a pitch that at one time it was to be feared they would insist upon her carrying out the rest of the programme herself, and that she would be kept singing all night. Mme. ROSA’S first appearance was in the aria from Balfe, ‘Si tu Savaïs.’ [sic] To try to say with what really poetical feeling this was given would be vain. To be really appreciated, it should be heard and felt. That it was, last night, the encore it received gave token. To say that Mme. RASA [sic] is still found to be the most fervid singer of our own concert room, that Summer rests have neither rusted nor made her indifferent, and that she still enters fully into the spirit of everything she sings, be it ballad, aria or whatever, and gives to each appropriate expression, is to say what everybody who has had any experience of her singing knows well enough beforehand. This is the only praise that need be awarded to her; and it is the highest possible. Mr. HARRISON’S opening concert for the season of 1867-‘8 has kept up the tradition, and, like its predecessors, was thoroughly successful. The same programme will be given at the initial concert to take place in the Brooklyn Academy this evening.”

“Wednesday evening Manager Harrison began his season most auspiciously, and Madame Rosa received a welcome which, however cordially bestowed, was not more than adequate to her merits. In a very lively passage from Rossini’s Don Magnifico—one in which the vivacious maestro’s fancy runs as wild as the vine—Madame Rosa and Signor Ferranti roused their hearers by a specimen of unusual vocalization; Miss Marie Gilbert’s illustration of Liszt’s pianism shows as ever a firm and intelligent hand, still wanting a positiveness and almost energy of feeling so characteristic of compositions of this class, but yet indicative of much that is praiseworthy in execution. Mr Carl Rosa, in such a piece as Paganini’s Moto perpetuo, glides skillfully into his high place in the public favor.” 

“Mr. Harrison’s opening, both here and in Brooklyn, has, according to yearly custom, been a popular success without qualification.  The currency which Madame Rosa’s golden speech gives, now and then, to a school of common-place ballads is the only thing doubtful in his fame.  But we resumed this topic in order to remark that Signor Fortuna has reappeared, pleasantly singing the baritones of Verdi and Donizetti, with more conscientiousness than ambition; and in like way Signor Rocco has come before us with the harp. His fingers deftly illustrate the value of this instrument to the lyric [illeg.]. In a passage like Artot’s Dance of the Fairies it is even preferable to the violin.”