Maretzek Italian Opera: Il Barbiere di Siviglia

“Opera has revived. ‘Barber;’ tonight. Was to have gone, but was in no mood for nonsense however pretty.”

The event attracted a large audience. Parepa-Rosa as ‘Rosine’ and Ronconi as ‘Figaro’ performed their parts so well that even the weak performance of ‘Almavida’ [sic] by Baragli seemed enjoyable.

“The performances at the Academy since Monday have been much better attended than they were on that evening, and there may be some hope of cheap prices yet benefiting what remains of the season. Mme. Parepa-Rosa's appearance in ‘The Barber’ on Tuesday was greeted by the very brilliant audience with all those tokens of admiration which she has ever received. Mr. Maretzek, in fact, has not an artist who is on so good terms with the public. Her role on this occasion was that of Rosina; and whatever may be said of Mme. Rosa's realization of the dramatic idea conveyed in Rossini's coquettish heroine, there is nothing but admiration for her vocalization in the musical concerts of the part. According to the custom that introduces something foreign and florid into the scene of the lesson, Mme. Rosa sang Arditi's waltz air, ‘L’Estasy’ [sic]. Sig. Ronconi's Figaro is so well-known by this time that it needs no further indorsement [sic] than the hearty good humor with which the public always recognizes it. Sig. Baragli was in good temper, and sang the music of Almivava [sic] delicately and pleasantly. Bartolo and Basilio have been better acted at the Academy than they were by Sigs. Barili and Medini, but scarcely better sung.”

Parepa took a risk in attempting to play a youthful naïve character as “Rosina”, yet she managed it well and much better than Peralta in this part. Her singing was excellent as usual.