Manager / Director:
Price: $1; $.50 extra for reserved seat
23 October 2020
“The sixth of the Patti concerts was given last evening at Steinway Hall, before a thronged and fashionable audience. The gem of the programme—the famous ‘Shadow Song’ from ‘Dinorah’—was a finished performance, eliciting round after round of applause, much of which was meant for an encore, but failed of its object. In this song the wonderful compass of Patti’s voice was splendidly revealed, and in the deep hush that pervaded the audience the faint, bird-like carol notes of the melody sounded as a sweet and tremulous echo of the groves. The ‘Variations’ by Ritter, composed for Patti, were gay and grave by turns. The piquancy of one brief piece, containing some slight flavor of Offenbach’s archness, was highly appreciated, being tossed off with an airiness of style rare in concert singing. Signor Ronconi was at home in the festive aria, ‘Mi Rampolli,’ and Prume well sustained his high reputation as a violinist in Weber’s ‘Freyschutz Fantasie.’ Ritter needs no word of commendation. His violin solo was an exquisite piece of instrumentation. Carlotta and Herr Habelmann, in the duet, ‘Linda di Chamounix,’ wove a perfect spell of music, from which the audience were reluctant to escape. The performance concluded with a march, ‘Tannhauser,’ by the orchestra.”
“Carlotta Patti certainly is a most successful concert singer, for every evening that she appears at Steinway’s the large hall is crowded to excess. The question as to her ability to take a higher stand as an exponent of musical art, than a mere executant, is discussed with considerable fervor on both sides; but the question will be fairly settled, should Patti—as is vaguely rumored—appear in opera during the forthcoming Maretzek campaign. In the meantime her concerts offer very enjoyable musical treats. On Thursday [Wednesday] night she sung in a brilliant, dazzling manner, full of ventriloquial effects and exaggerated staccato, the ‘Shadow Song’ from ‘Dinorah,’ a series of difficult variations written for her by Theodore Ritter, and her part in the fascinating love duet, ‘Di consolarmi,’ winning in each the warmest applause from a very large audience. Her coadjutors gave valuable assistance, Ronconi sang with more vigor and strength of voice than is usual even with him, while we all know that the restrictions of the concert-room cannot extinguish the play of feature and vivacity of motion in which this great Italian buffo singer loves to indulge. To hear Ronconi sing the dream description from ‘Cenerentola’ is enough to make one sigh for a season of Ronconi’s brilliant buffo operas as they used to be sung a quarter of a century ago. Perhaps Maretzek will think of this in his coming opera season. ‘Cenerentola’ was given here in Italian by Alboni, Sangiovanni, and others over a dozen years since, and its success was undoubted. In the meantime, however, if we are only to hear this class of music in the concert room, it is well to have such an artist as Ronconi to interpret it.
“Mr. Habelmann sang in his usual placid and agreeable manner, Mr. Ritter played with acceptation, and Mr. Prume gave the best violin performances he has yet offered to a New York public.”