Maretzek Italian Opera: Il barbieri di Siviglia

Event Information

Venue(s):
Academy of Music

Manager / Director:
Max Maretzek

Conductor(s):
Max Maretzek

Price: $1.50; reserved seats $2.50; boxes, $9-$12; family circle, $.75

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
27 February 2016

Performance Date(s) and Time(s)

27 Sep 1867, 8:00 PM

Program Details

Debuts of Marie Sand (dancer), P. Medini (Basilio), and Mr. C. Marvig.
Carnival of Venice (in the music lesson scene).
Rondo brillante (end of opera).

Performers and/or Works Performed

1)
aka The Barber of SevilleAlmaviva, ossia L’inutile precauzioneAlmaviva, or The Useless Precaution
Composer(s): Rossini
Participants:  Maretzek Italian Opera Company;  Ettore Barili (role: Bartolo);  Giorgio Ronconi (role: Figaro);  Signor [tenor] Baragli (role: Almaviva);  Angela Peralta (role: Rosina);  Marie [dancer] Sand;  P. [bass] Medini (role: Basilio);  Louis Carl [dancer] Marvig
2)
Participants:  Angela Peralta (role: Rosina)
3)
Composer(s): Ascher [comp.]
Participants:  Angela Peralta (role: Rosina)

Citations

1)
Advertisement: New-York Times, 16 September 1867, 7.
2)
Advertisement: New-Yorker Staats-Zeitung und Herold, 16 September 1867, 6.
3)
Review: New York Post, 28 September 1867.
“The performance of the ‘Barber of Seville’ last evening differed mainly from that given last season, in the substitution of Signora Peralta for Miss Kellogg, as Rosina, and of Signor Medini for Signor Antonucci, as Don Basilio. The former had a peculiarly difficult task in following one who so completely and delightfully filled the part as did Miss Kellogg. A favorite in all of the characters she assumed, she was especially charming and winsome as Rosina. Signora Peralta, however, achieved a most decided success. In her the actress is always subordinate to the singer.  She went through her part as gracefully and unexceptionally, but the dramatic element was lost in view of the purity and perfection of her tones and of her surprising execution. The performances of such terrible arduous tasks as the ‘Carnival of Venice,’ with variations, and of Ascher’s ‘Rondo Brilliante,’ furnished unnecessary evidence of her complete conquest of vocal difficulties, which, indeed, are impossibilities to all save a gifted few.
 
Signor Medini, the new baritone, is not likely to attain popularity at once.  He has a voice which will probably be better liked after repeated hearings.  It is pure and rich, but not flexible, and last night pleased us better in the concerted pieces than when heard alone. The performance, as a whole, was excellent.  The difficult duties assigned to the orchestra were faithfully performed under Mr. Maretzek’s personal direction. The ballet created general interest; the first new first dancer, Mlle. Marie Sands, exciting general admiration by her appearance and execution of arduous feats. The supporting members of the ballet were more numerous than we have been accustomed to see in the Academy.”
4)
Review: New-York Times, 28 September 1867, 4.

“Senora PERALTA appeared last night in one on Miss KELLOGG’S most delightful characters—that of Rosina, in ROSSINI’S ‘Barber of Seville.’ This opera is attractive enough in itself, and only requires to be fairly executed to delight any audience of moderate intelligence and good taste, in whatever style it may be put upon the stage. It is altogether appropriately produced at the Academy, and the changes in the cast last evening lent new attractiveness and beauty to the work.  Senora PERALTA’S delivery of the ‘Carnival of Venice,’ with variations after her own florid fancy, in the music lesson scene, was as clever and captivating a performance as any that can be heard on the operatic stage.  ASCHER’S ‘Rondo Brilliante,’ which she also introduced in the finale, is as trying a piece as any singer can undertake, but its ornamentations received a certainly fascinating expression from Senora PERALTA.  A more lady-like impersonation of Rosina than we have seldom witnessed; some little additional vivacity here and there would have been relished, more especially in the earlier scenes, but this artiste, like BOSIO, is evidently bent on exhibiting her beautiful voice to the best possible advantage, and though full of intelligence, is determined not to allow herself to be carried away by dramatic fervor. Signor MEDINI, made his début as Basilio in this representation; he is a basso of remarkable expression, extremely clear, and entirely satisfactory.  He assisted with distinguishing spirit, as far as his part permitted, in the humors of the first act—an act flowing with musical milk and honey from beginning to end. It is unnecessary to renew our expressions of admirations for Sig. RONCONI’S Figaro.  It is entirely unique.  Sig. BARAGLI as Almaviva, and Sig. BARILI as Bartolo exceeded no expectations. Mr. MARETZEK’S orchestra had fine opportunities for distinguishing itself, and, we need scarcely add, profited by them.”

5)
Review: Courrier des États-Unis, 30 September 1867.

“The audience at the Academy of Music was gratified, Friday, by the performance of the Barber of Seville, which was the occasion for Mme Peralta to reveal new qualities as an opera-singer to us. M. Medini, making his debut, sang the role of Basilio with skill. His voice has expanse and flexibility, and he is an excellent actor. Ronconi obtained the greatest success.” 

6)
Review: New-York Daily Tribune, 04 October 1867, 4.
“The chief performances at the Academy since our last review have been the Rosina of Signorina Peralta, and Leonora of Madame Parepa, and the Manrico of the new tenor, Pancani.  Rossini’s comedy does not present Signorina Peralta in any novelty or remarkable force as an actress.  Though her Amina is pretty and piquant, and her Lucia gentle and appealing, it must be admitted that acting is not the strength of our new favorite.  It is to the satisfaction and skilled purity of her education that the laurels given her with so much enthusiasm are due.  The facile and youthful quality of her voice impart an innocence to her most sophisticated utterances; and there is apparently no florid difficulty of execution of which she cannot make herself mistress.  This was remarkably manifest in her receipt delivery of Asher’s rondo—a mass of brilliant perplexities, and no more.”