Maretzek Italian Opera: Le prophète: Anna de La Grange Benefit

Event Information

Academy of Music

Manager / Director:
Max Maretzek

Event Type:

Record Information


Last Updated:
3 May 2019

Performance Date(s) and Time(s)

23 Mar 1869, Evening

Program Details

“New dresses and Scenery. Grand Ballet. Fancy skating by members of the New York Skating Association.”

No performances on Thursday or Friday.

Performers and/or Works Performed

Composer(s): Meyerbeer
Participants:  Maretzek Italian Opera Company;  Mlle., unidentified [dancer] Zuccoli;  Mlle. [dancer] Wesmael;  Alessandro [tenor] Boetti;  Ettore Barili (role: Mathisen);  Theodore Habelmann (role: Jonas);  Giuseppe B. [basso] Antonucci (role: Zacharie);  Wilhelm Formes (role: Comte Oberthal);  Isabella McCulloch (role: Bertha);  Anna de La Grange (role: Fides)


Advertisement: New-York Times, 19 March 1869, 7.
Advertisement: Courrier des États-Unis, 19 March 1869.
Announcement: New York Sun, 22 March 1869.
Announcement: New-York Times, 23 March 1869, 5.
Announcement: New-York Daily Tribune, 23 March 1869, 1.

“Of the opera season there is only the old story to tell; whether the temptation be Miss Kellogg in ‘Faust,’ or Madame LaGrange in ‘The Prophet,’ the houses are crammed, and New-York pokes its dollars through the box-office window with an enthusiasm wonderful to witness. The benefit of Madame LaGrange to-night, the appearance of Miss Kellogg in ‘Fra Diavolo to-morrow, and the close of the season on Saturday night (there will be no performance on Thursday or Friday), are the remaining events of the week, after which there will be nothing left us but the grand winding up crash of the Opera Ball.”

Advertisement: New York Herald, 23 March 1869, 9.
Review: New York Post, 24 March 1869.

“In the part of Fides—the finest she has yet undertaken—Madame La Grange last night took her benefit. Probably owing to the fact that this is Holy Week the attendance was not as brilliant as might have been expected. The weight of Maretzek’s present campaign has fallen upon Madame La Grange; and in her Norma and Fides she has equalled her brightest days. In regard to the latter representation, there is but one unanimous chorus of praise, and any other prima donna who may hereafter assume the part will have to contend against the memory of one who has filled it to the thorough satisfaction of every hearer. The general public and the more critical members of the musical profession are alike agreed in awarding to La Grange the merit due to transcendent genius.

Last night the great prima donna, after the fourth act—the great Cathedral scene—was three times called before the curtain. Her dressing room was fragrant with the odor of the beautiful floral offerings contributed by admiring friends, and including vases of bouquets, a rich cross of flowers, a lyre, a laurel wreath and other graceful devices.

To Madame La Grange is allotted the honor of closing the season in which she has been so admirably prominent. She will sing in the ‘Prophete’ again on Saturday night—the last performance of the season.”  

Review: New-York Times, 24 March 1869, 7.

“Mme. La Grange was greeted last night by an audience that thoroughly appreciated her great claims on the musical community. The opera was ‘Le Prophete,’ in which the lady has always commanded first position. We have on several occasions spoken of the excellent way in which the work has been produced by Mr. Maretzek, and need only now say that the rendering was better than usual. Everyone seemed to be inspired by the cordiality bestowed on the beneficiare.”