Maretzek Italian Opera: Roméo et Juliette

Event Information

Academy of Music

Manager / Director:
Max Maretzek

Event Type:

Record Information


Last Updated:
28 September 2016

Performance Date(s) and Time(s)

27 Nov 1867, 8:00 PM
29 Nov 1867, 8:00 PM

Performers and/or Works Performed

Composer(s): Gounod
Text Author: Barbier, Carré
Participants:  Maretzek Italian Opera Company;  Antoinette Ronconi (role: The Page);  Ettore Barili (role: Gregory);  Emilio [tenor] Pancani (role: Romeo);  Mme. [vocal] Fleury-Urban (role: The Nurse);  P. [bass] Medini (role: Friar Lawrence);  Wilhelm [baritone] Müller (role: The Duke);  J. [tenor] Reichardt (role: Benvolio);  Giuseppe B. [basso] Antonucci (role: Father Capulet);  Minnie Hauk (role: Juliette);  Herr [baritone] Voelden (role: Paris);  Domenico Orlandini (role: Mercutio);  Enrico Testa (role: Tybalt)


Advertisement: New-York Times, 26 November 1867.
Advertisement: New York Herald, 27 November 1867.
Advertisement: New-Yorker Staats-Zeitung und Herold, 27 November 1867, 6.
Announcement: New-Yorker Staats-Zeitung und Herold, 27 November 1867, 8.
Review: New-York Times, 28 November 1867, 4.

“Last evening the third performance of ‘Romeo e Giulietta’ took place before as large but scarcely as kind an audience as Monday’s. . . . The waltz air still remains the favorite of the opera, and is likely to be the only one that will obtain a positive popularity.”

Announcement: New-Yorker Staats-Zeitung und Herold, 29 November 1867, 8.

Last performance of Romeo and Juliet.

Review: New-York Daily Tribune, 30 November 1867, 8.

“The final performance of Gounod’s new opera last night was the best that has yet been given. Signor Pancani was in good voice, and his excellent method and artistic culture received a better share than they have previously obtained of the appreciation that is due them. The other singers show improvement, slightly. The chorus works more smoothly, and the orchestra is nearly perfect. We are gratified to perceive that the extraordinary beauties of the opera are winning [illeg.]—slowly, perhaps, but surely; and we are confident that it will, as we predicted on its first representation, eventually become extremely popular. The applause last night was not only warmer than hitherto, but it was more discriminating. The superb quartette in Friar Lawrence’s cell—the Santo piacer—one of the most impassioned and truly grand numbers in the opera, received an emphatic and well-merited encore. It was flawlessly given. It is a pity the opera should have to be withdrawn just as it is winning its way; but we hope to hear it again when Mr. Maretzek returns in January, and we trust by that time it will be better understood by the public.”