30 August 2017
“One of the most enjoyable soirées of the musical season was that given on Friday evening, at Irving Hall, by way of substantial compliment to Madame Angiolina Ghioni, and in which the following artists took part: Madame Parepa-Rosa, Madame D’Angri, Signors Errani, Ferranti, and Abella, Messrs. Carl Rosa, Alfred H. Pease, and G. W. Colby. With such brilliant assistance, it was easy to present a very varied and—as concerts go now-a-days—interesting programme. The audience was noticeably professional in character, showing that Madame Ghioni enjoys the esteem of the artistic world as well as the good will of the general public. The lady’s voice is of extraordinary power and fine compass; but, in a general way, the organ lacks smoothness and luster. Whatever may be its native worth, it has received excellent schooling, and is decidedly ductile in passages of velocity. Madame Ghioni acquitted herself with but moderate success in the opening duet with Signor Errani, compared with her subsequent efforts. The bizarre aria from Verdi’s ‘Masnadieri’ received at her hands a more impressive and finished interpretation than it deserved. Madame D’Angri who but too seldom comes upon the scene, made it patent to all ears that there is no good reason for her withdrawal from the concert room. The ‘Ah! Mon Fil!’ (‘Prophet!’) she sang with admirable effect—producing a sensation that was promptly expressed in an irresistible demand for an encore. Madame Rosa sang Millard’s song, ‘Waiting,’ and in the concluding terzetto from Cimarosa’s Matrimonies Segretto,’ with Mesdames D’Angri and Ghioni. This selection afforded intense amusement, it being enlivened by a very fair bit of comedy acting on the part of the three bouncing prima donne.
Signor Errani, the quality of whose efficient tenor was, not many seasons past, the theme of admiring comment in operatic circles, was amiably received in the duet serenade with which the programme opened. Mr. Pease, aided by his Fidus Achates, Mr. Colby, introduced one of his extremely popular condensations of Offenbach fancies, with the standard results as to applause, and also performed the melodious andante from Kohtski’s ‘Awakening of the Lion.’ Signor Ferranti, in an Italian comicality in which he was assisted by Madame D’Angri, maintained his prestige as an unmistakeable buffo, and Mr. Carl Rosa reestablished the upset gravity of the house by Moeser’s fantasie on the ‘Freischutz’ airs. In all respects this concert passed off most satisfactorily.”