Maretzek Italian Opera: Il Barbiere di Siviglia

Event Information

Academy of Music

Manager / Director:
Max Maretzek

Event Type:

Record Information


Last Updated:
28 September 2016

Performance Date(s) and Time(s)

26 Nov 1867, 8:00 PM

Program Details

Arditi’s “L’Estasi” was sung by Mme. Parepa-Rosa during the music lesson scene.

Performers and/or Works Performed

aka Barber of Seville; Almaviva, ossia L’inutile precauzione; Almaviva, or The Useless Precaution
Composer(s): Rossini
Participants:  Maretzek Italian Opera Company;  Signor [tenor] Baragli (role: Almaviva);  P. [bass] Medini (role: Basilio);  Ettore Barili (role: Bartolo);  Euphrosyne Parepa (role: Rosina);  Giorgio Ronconi (role: Figaro)
aka Ecstasy; Extase
Composer(s): Arditi
Participants:  Euphrosyne Parepa


Announcement: New-Yorker Staats-Zeitung und Herold, 22 November 1867, 8.
Announcement: New-Yorker Staats-Zeitung und Herold, 24 November 1867, 4.
Advertisement: New-Yorker Staats-Zeitung und Herold, 24 November 1867, 8.
Advertisement: New York Herald, 26 November 1867.
Advertisement: New-York Times, 26 November 1867.
Announcement: New-Yorker Staats-Zeitung und Herold, 26 November 1867, 8.
: Strong, George Templeton. New-York Historical Society. The Diaries of George Templeton Strong, 1863-1869: Musical Excerpts from the MSs, transcribed by Mary Simonson. ed. by Christopher Bruhn., 26 November 1867.

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

Review: New-Yorker Staats-Zeitung und Herold, 27 November 1867, 8.

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.

Review: New-York Times, 28 November 1867, 4.

“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.”

Review: New-Yorker Musik-Zeitung, 30 November 1867, 264.

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.