Dryane French Opera: Lucia de Lammermoor

Brief.

“Donizetti’s superb opera of ‘Lucia di Lammermoor’ was performed last night at the Academy of Music by the French company of Mr. Dryane. The performance was an improvement on the previous ones and really very good. Mlle. Bleau, as Lucia, sang charmingly, and proved herself to be a finished artist. There can be but one opinion of the fine quality of her voice and her correct management of it. There have been but few prima donnas in this country who could be compared with her, though she came here unheralded. But the American public will not be slow to appreciate her merits. The rounds of applause last night showed that she was appreciated. Undoubtedly she is bound to take the first rank in opera in this country. The tenor, Tabardi, sings well, and Tasson, the bass, admirably. The first made as good an Edgar as could be found in America, and the latter was truly excellent as Raymond. The chorus is a fine one. The opera, on the whole, was well performed, and as far as the part of the soprano, Mlle. Bleau, went, has been rarely as well done. This company ought to be sustained. The managers deserve great credit for their enterprise in bringing out such a large company at considerable expense, and it is to be hoped they will have a successful season.”

“If the artistes of the French company now singing at the Academy of Music had heeded a slightly altered version of a saying of Alexander Dumas, that the existence of a newspaper ought to begin with its second number, the impression as to their respective merit would have been decidedly different from that first made. The representation of ‘Les Mousquetaires de la Reine,’ which followed that of ‘La Juive,’ was much worthier than the one before it, and a proportional improvement over its predecessor was discernible in the interpretation of ‘Lucia di Lammermoor,’ last evening. So long a time has gone by since ‘Lucia Lammermoor’ has been rendered here, that its delightful music seemed quite fresh. Its melodies were well executed, and its dramatic story illustrated with a degree of intelligence and earnestness to which the singing automata of Italy have not accustomed us in the past. Mlle. Bleau, whose praise has already been sounded, as Lucie, and M. Tabardi as Edgar, were heard to rare advantage, and loudly applauded in the duetts [sic] and solos, with which the habitual reader is too well acquainted for them to need a reference by name. M. d’Haesler sang effectively also, and the subordinate parts were respectably filled. The orchestra, we may observe, seemed to lack the benefit of rehearsals, and showed a resulting want of unanimity. It will no doubt be in a better practice to-morrow evening, when ‘La Juive’ will be given for the third time, and we sincerely hope that it will be quite perfect toward Friday, when we learn with pleasure, and not without some sense of temerity on the part of the management, that ‘William Tell’ is to be represented. Rossini’s masterpiece has not been performed here for nine years.”

“In Donizetti’s ‘Lucie de Lammermoor,’ produced last night at the Academy of Music, M. Dryane’s troupe exerted themselves with no little success to give a creditable performance of a work which, charming as it is, seems now to be a little old-fashioned. Mlle. Bléau was the Lucie, and appeared to eminent advantage in the part, especially where a display of florid execution was needed. Throughout the opera her intonation was exquisitely pure, and her action graceful and refined. Her style of singing is thoroughly artistic. Her faults are but few, and these are simply defects which further experience may obviate. For instance, it would be an advantage if her voice were more powerful, for, with all her skill and earnestness, a lack of strength is sometimes obvious; and her trills are not as perfect as her otherwise admirable vocalism would lead one to exepct Still, this lady is such a charming prima donna in so many respects, that her performances should attract larger audiences than that which partially occupied the Academy of last night.

"Mlle. Bléau was creditably supported. M. Tabardi sang the music of Edgard in an artistic manner, often eliciting applause. M. D’Haesler was the Ashton, and found in the leading airs an ample opportunity for the display of his fine baritone voice. The chorus was generally good.”