Maretzek Italian Opera: Ernani

“Sig Giovanni Reina (of la Scala, Milan)…”

“Verdi evidently is not the fashionable color this season.  ‘Ernani,’ as a rule, draws a good house, but last night it failed.  The attendance was poor.  Perhaps it was of respectable parents.  Of the opera there is little to be said.  The regular pieces were encored, and the finale to the third act had to be repeated.  Mme. States sang superbly, as she always can do when the opportunity for voice is presented to her.  Signor Antonucci was admirable and impassive as Don Silvia.  The Ernani of Signor Boetti was a respectable performance, but lacked force—which is the quality most needed in the rôle.  He sang, however, with great discretion, and with an intelligence and effect which compensates for lack of power.  The new baritone, Signor Reina, has a powerful baritone voice, which possesses, perhaps, unknown sources of delight.  The gentleman was timid last evening, and deflected from correct intonation languidly but steadily.  In the finale to the third act he was heard to the best advantage, and displayed qualities which we think may give him a good if not prominent position before the public.  The orchestra and chorus were good.”

“Verdi’s melodious and highly colored opera of ‘Ernani’ was produced last night at the Academy of Music, and in nearly all respects was well done. Elvira in this opera is decidedly the best part in which Mrs. States has yet appeared, for it exhibits her excellent voice to the fullest advantage, and involves no severe trial of her artistic culture. Signor Boetti was the Ernani; he made a most favorable impression, having all the energy needed in this impassioned role, and combining with it good taste and intelligence. The new baritone, Reina, made his debut in the character of Carlo Quinte. He has a powerful, sweet, and sympathetic voice, a broad and impressive style, and a good presence; he sings with feeling; and but for one fault he would make a very decided success. That fault is unfortunately a bad one; he sings out of tune. He is not always out of tune however, and at times his performance is charming—as it was last night, for instance, in the celebrated finale of the third act. Upon the whole, he impressed us as a somewhat dilapidated Bellini. Antonucci was the Don Silva, and his beautiful rendering of the Infelice broke in upon the imperfections of his associates like sunlight out of the midst of a shower. He is a delightful artist, by the side of whom almost any singer might seem mean.”