La Grange-Brignoli Italian Opera: Don Giovanni

"There was a full attendance at the matinée on Saturday. Mr. Pike’s house has not, we think been seen to greater advantage. Like a richly-decorated jardinière, it is improved by being filled. The majority of those present were of course ladies, and for the most part from the immediate neighborhood. This, we need hardly say, is good enough and large enough to support a place of amusement. The tendency toward the East side, has, however, been very marked for several years, and it is not likely to be checked immediately. There is no reason, in fact, why it should be checked at all. It was in the nature of things that our places of amusement should become scattered, and especially that they should follow the tide of population that flows steadily westward… [continues in this vein for the rest of the paragraph]

Mr. Strakosch, despite the opposition of the large, influential and wealthy class above referred to, has done well. Owing to the accident which so inopportunely befell Signor Brignoli, he has had to depend almost wholly on Mme. La Grange and on such items of the repertoire as best suited the other artists. We have from time to time spoken of the several performances. ‘Don Giovanni’ was repeated on Saturday at the matinée, and in a much more satisfactory way than at the former representation. Signor Susini had a cold, and was therefore in voice. He is an amusing Leporello and does not hesitate at a sacrifice to make the audience laugh, but occasionally he roars like a pachyderm, and carries consternation into that ante-diluvian world, the chorus. Signor Tamaro is ‘as mild a mannered man as ever scuttled a ship or cut a throat.’ What with the natural tameness of his style and the depressing influence of his funereal costume, he produced a singular sense of void,--the more remarkable from the fact that he is a good artist, and reputed to be one of the best teachers of singing in the City. He sang ‘Il mio tesoro’ with much taste. Signor Orlandini is an acceptable baritone, who neither startles nor dismays. The Zerlina of Miss Phillips was a thoroughly good and artistic performance. The beautiful melodies, with which the part is filled, were given with purity and simplicity. The gentleman who played Masetto was unworthy of so lively and graceful a partner. Signor Colleti was a good Comendatore. He is always a little sepulchral, and a monumental part suits him. Mme. La Grange was finely tragic as Donna Anna, and sang the very difficult music of the rôle with that remarkable ease and finish to which we have so often had occasion to direct attention. Mme. La Grange has passed the time when flattery can add to her fame. She is justly regarded as one of the best and most reliable artists now on the stage. With a very distinct recollection of her first appearance in this country, and with so many instances in every direction to teach us, that time does not generally improve the voice, we are still of opinion that the lady has never before been heard to such advantage. She is better now than when she sang at Niblo’s Garden. During her absence we have had no artist who was her equal in the general qualities that constitute a prima-donna. Mme. La Grange’s voice was at no time very strong. It was characterized more by firmness and elasticity than by volume. The skill with which she delivers and manages it doubles its power, and satisfies the listener even amid the crash of instruments and the shouts of a rather turbulent chorus. Another and very agreeable trait in Mme. La Grange is that she never sings out of tune. In this respect she is an example to every other member of the troupe.”