Maretzek Italian Opera: Un ballo in maschera: Mazzoleni benefit

Event Information

Academy of Music

Manager / Director:
Max Maretzek

Max Maretzek

Price: $1 General admission to parquet and balcony; 1.50 reserved to parquet and balcony; .50 family circle; .25 amphitheatre

Event Type:

Record Information


Last Updated:
24 October 2017

Performance Date(s) and Time(s)

20 Apr 1863, Evening

Program Details

Strakosch replaced Sulzer

21st Night – Closing Night.

Performers and/or Works Performed

aka A Masked ball; Masked ball
Composer(s): Verdi
Text Author: Somma
Participants:  Maretzek Italian Opera Company;  Wilhelm [baritone] Müller (role: Tour);  Signor Lancioni (role: Sylvan);  Ginerva Guerrabella (role: Amelia);  Amalia Patti Strakosch (role: Ulrica);  Domenico Coletti (role: Samuel);  Antonietta Brignoli-Ortolani (role: Oscar);  Fernando [bass-baritone] Bellini (role: Reinhart);  Francesco Mazzoleni (role: Ricardo);  T. [tenor] Rubio (role: Judge)
Composer(s): Pasani


Announcement: New-York Times, 09 April 1863, 4.

“We are sorry to announce that Mr. Maretzek’s season will come to an end on Saturday of next week.  Private affairs connected with the recent decease of Mad. Medori’s husband, render it absolutely necessary for the lady to repair at once to Belgium.”

Advertisement: New-York Times, 16 April 1863, 7.


Advertisement: New York Herald, 16 April 1863, 7.


Advertisement: New-York Times, 17 April 1863, 7.

“Last night of Un Ballo In Maschera, to which will be added an entirely new scene, entitled The Garibaldean.”

Announcement: New York Herald, 17 April 1863, 4.

“We wish to call special attention to the benefit of Mazzoleni, who deserves an immense house.”

Announcement: New York Post, 17 April 1863, 2.


Announcement: New-York Times, 18 April 1863, 4.


Announcement: New York Herald, 18 April 1863, 1.

“Mazzoleni as the Count has won immense applause in this opera.  His barcarole in the second act is rendered with a verve such as we have never seen equaled.”

Advertisement: New York Herald, 19 April 1863, 7.


Announcement: New-York Times, 20 April 1863, 4.

“To-night is the last of Max Maretzek’s season of opera at the Academy. Appropriately the season closes with a benefit to the new and really admirable tenor whom Mr. Maretzek has done the New-York public the pleasure of introducing to its notice and consideration. Signor Mazzolini has in the short time he has been here earned an enviable reputation—a reputation which will compete in the memory of opera-goers with that of Salvi and Brignoli. Less cultivated than the one, not so great as the other, he is more dramatic than either, and is withal an artist of great accompliments [sic] and pleasant, unassuming demeanor. In his honor the vast extent of the Academy ought to and will be crowded. The entertainment for the occasion is Verdi’s ‘Ballo in Maschera,’ in which the principal parts will be sustained by Mazzolini himself, Madame Guerrabella, Mlle. Brignoli, Mlle. Sulzer and Signori Bellini and Colletti. Max Maretzek will conduct in person. After ‘Il Ballo,’ Mazzolini will sing in costume the grand scena composed expressly for him by Pasani, and called ‘The Garibaldian.’ This patriotic effort must unquestionably call forth the wildest demonstrations of enthusiasm.”

Advertisement: New-York Times, 20 April 1863, 7.

Cast, prices.  “After which will be presented, for the first and only time, an entirely new scene, entitled The Garibaldian, which will be sung by Signor Mazzoleni, In Full Garibaldian Costume.  Notice.-This scene was written expressly for Signor Mazzoleni by Maestro Pasani.”


Announcement: New York Herald, 20 April 1863.

“From his debut in New York until the present time Mazzoleni has afforded to the lovers of opera unalloyed pleasure.  Gifted with a pure, fresh, sonorous voice, he adds to this qualification the merit of such dramatic force and feeling as are rarely witnessed in operatic performances.  He acts his roles as well as he sings them, is ever graceful and energetic, and conveys in the most admirable manner the spirit of whatever part he may be performing.  Those who witnessed his masterly acting in ‘Ione’ will bear us out in the assertion that in the scene where he depicts the effects of the poisonous philter administered by Nidia his acting is superb. In the “Ballo” . . . Mazzoleni sings in the second act the famous barcarolle with an entrain, a gayety [sic], which we have never seen equaled. We deem his Count Richard unsurpassed by any artist here or abroad. . . . At the close of the opera Mazzoleni, in appropriate costume – red shirt, &c. – will appear in a scene entitled the ‘Garibaldian.’”


Advertisement: New York Herald, 20 April 1863, 7.


Announcement: New-York Daily Tribune, 20 April 1863, 8.

“The company is excellent.  Madame Medori in puissant voluminous tones has never been surpassed; Madlle. Brignoli is a most sympathetic singer and executes difficult music well; Signor Mazzoleni beside being a passionate singer excels as an a actor; Signor Bellini is one of the best baritones we have ever had, and as a thoroughly cultivated bass, Signor Biachi has not has [sic] his superior here.”

Announcement: New York Post, 20 April 1863, 2.

“The music – written expressly for this tenor by Pasani – will undoubtedly have, by the manner of its delivery, if not by its own qualities, a stirring effect upon the hearers.”


Review: New York Herald, 22 April 1863, 3.

     "The announcement that Signor Mazzoleni was to take the benefit last Monday evening was enough to fill the Academy of Music to overflowing. This artist has won a great hold upon the New York public since his debut here. In all his roles he has evinced talent of so unusual a character, has sung and acted so well, as to establish himself a favorite.  Those who had derived so much pleasure from his spirited performances were, of course, pleased to give the artist a substantial proof of their appreciation of his efforts, and so on Monday night he had a splendid benefit—an ovation, in fact.

From his first appearance until the close of the opera he was warmly applauded. He was called out at the end of the different acts and encored in all his finest airs. The barcarolle in the second act was the occasion of a scene such as must have caused the artist the greatest pleasure. The audience encored this favorite morceau, applauded almost all through it, bestowing upon Signor Mazzoleni such marks of approbation as are seldom given by the rather cold audiences of our Academy of Music. It may fairly be said that this benefit was a triumph such as will long be remembered by Mazzoleni.

The Garibaldian scene was eminently successful.  The audience, not fully understanding the stirring nature of the song, did not enter in to the spirit of the performance.  Still, Mazzoleni’s admirable phrasing and fine singing moved them to tumultuous applause. As the curtain fell the artist was called out amid loud and continued chants of approval. There seemed to be a universal desire to prove to hiom how deservedly popular he has become.

Mme. Guerrabella, as Amelia, filled the role most successfully.  Fired, no doubt, by the unusual warmth of the public, she sang with corresponding animation and grace. In the second act the duo between herself and Mazzoleni was very successfully rendered. In the third act the duo between Amelia and Reinhart was also much applauded.

Mme. Amalia Patti Strakosch, who assumed the role of Ulrica at short notice, won deserved applause in it.

Mme. Ortolani Brignoli, as the page Oscar, sang the role most pleasingly.  She was in excellent voice, and added by her performance to the success of the evening.

Signor Bellini has earned a well deserved reputation as one of the most eddective representatives of the role of Reinhart. Monday evening he elicited the warmest applause from the audience. He sang and acted admirably.  In the third act he was especially successful.”


Review: New York Post, 22 April 1863, 2.

     “Mr. Maretzek on Monday evening closed his first short and successful operatic season, Signor Mazzoleni selecting for his benefit the oft repeated, ever charming opera of the 'Ballo in Maschera.' The audience, as usual, was large and fashionable, and showed its high appreciation of the favor of the tenor by frequent rounds of applause. The novel part of the evening’s entertainment was the introduction by Mazzoleni of the ‘Garibaldian’ in the old warrior’s costume.  The words of the piece are political, of course, but there is a certain dash of patriotic fervor about it which rendered it attractive to even a general audience.”


Review: Courrier des États-Unis, 22 April 1863, 2.

     "The benefit of Mazzoleni brilliantly closed the season at the Academy of Music.  The ailment of Mlle Sulzer had threatened to compromise the performance, but Mme Strakosch was present with her usual zeal to replace the absentee.”

Review: Dwight's Journal of Music, 02 May 1863, 23.

Very brief mention that it was performed.