Parepa-Rosa Concert: 1st

Event Information

Steinway Hall

Manager / Director:
D. [manager] De Vivo

Price: $1.00; $1.50 (reserved place)

Performance Forces:

Record Information


Last Updated:
3 April 2021

Performance Date(s) and Time(s)

08 Jan 1869, Evening

Performers and/or Works Performed

aka Freischutz, Der. Und ob die Wolke sie verhülle; And even if clouds; Agathe’s prayer; Preghiera
Composer(s): Weber
aka Favorite ballads ; Ballads and warblings; Beautiful ballads
Participants:  Euphrosyne Parepa
Composer(s): Millard
Text Author: Flagg
Participants:  Euphrosyne Parepa
Composer(s): Tartini
Composer(s): Moeser
Participants:  Carl Rosa
Composer(s): Beethoven
Participants:  Carl Rosa
Composer(s): Costa
Participants:  Brookhouse Bowler
aka Variationes brilliante; Air varie
Composer(s): Rode
Participants:  Jules [cornet] Levy


Article: New-York Times, 15 December 1868, 7.

Parepa-Rosa appeared in Chicago recently and is enroute to New York.

Announcement: New-York Daily Tribune, 24 December 1868, 2.
Article: New York Post, 26 December 1868.

Parepa Rosa’s tour of the west and planned series of concerts in New York.

Advertisement: New-York Times, 27 December 1868, 7.
Announcement: New York Clipper, 02 January 1869, 310, 2d col., bottom.
Announcement: New York Post, 02 January 1869.
Advertisement: New York Herald, 04 January 1869.
Announcement: New York Post, 04 January 1869.
Announcement: New-York Times, 04 January 1869, 5.

“Mme. Parepa-Rosa and the members of her troupe (including the famous cornet player, Mr. Levy) will give a concert at Steinway Hall on Friday next.  The announcement will certainly be sufficient to fill the establishment to its greatest capacity.  The company plays in Boston to-night and on Wednesday.”

Advertisement: New-Yorker Staats-Zeitung und Herold, 04 January 1869, 7.
Announcement: New-York Daily Tribune, 04 January 1869, 5.
Announcement: New York Post, 05 January 1869.
Announcement: Courrier des États-Unis, 05 January 1869.

“The dilettantes have learned with pleasure that the singer, loved by the public, Mme Parepa Rosa, is due to give a grand concert in Steinway Hall next Friday.”

Advertisement: Courrier des États-Unis, 06 January 1869.
Announcement: New York Post, 07 January 1869.
Advertisement: Courrier des États-Unis, 08 January 1869.

“Mme Parepa-Rosa will be assisted by M. Brookhouse Bowler, an English tenor; Sign. P. Ferranti, a brilliant baritone; M. Pattison, a distinguished pianist; M. George W. Colby, accompanist; and M. J. Levy, the king of playing the cornet.”

Review: New York Herald, 09 January 1869, 7.

“Rentree of Madame Parepa-Rosa.—It is seldom even in this popular hall that such a large and truly fashionable audience is seen as that which greeted Madame Parepa-Rosa on her safe return from those terrible San Franciscoans. And the occasion was worthy of such an audience. The departure of this great songstress for California last summer left a void in the concert hall which it was found impossible to fill, and the consequence has been that the concert season so far has been unsatisfactory and to some degree unsuccessful. People may talk what they please about instrumental performers, even of the most wonderful order of talent, but there is nothing that reaches the public heart, and retains its place also, like the human voice when it is represented by such an artist as Mme. Rosa. She sang the beautiful prayer from ‘Der Freischutz’ and a couple of ballads with her old fire and power.The same liquid tones, extending far above the compass of other singers, filled the hall and electrified the audience. To speak of Parepa’s voice would be to repeat what has been said a hundred times over. We need only say that it has lost nothing in sweetness and power since her departure. Levy, the cornet player, made his first appearance also after a long absence. We must say that we do not like his playing as well as when he was here before. Whether it is the fault of the instrument or not, the fact is that the tone is harsh and uneven, and although his execution is irreproachable, there is too much forcing, as we may term it, of the tone to give pleasure. The tone is either pianissimo or fortissimo, and has no medium. This was painfully perceptible in Rode’s air with variations. Mr. Brookhouse Bowler sang the war song from ‘Eli’ in excellent style, and Ferranti rolled out his “Tra, la, la!’ and gesticulated as usual. Colby accompanied in a style which gave universal satisfaction. Carl Rosa in the fantasia on ‘Der Freischutz,’ by Moeser, proved himself the accomplished artist that made him a favorite with the New York public.”

Review: New York Post, 09 January 1869.

“A very large and unusually paying audience filled Steinway Hall last night to welcome Madame Parepa-Rosa back to the city, where she is so highly appreciated. The lady returns to us after a tour to California, and a long overland journey, which make her among the most extensive travelers in the country, as well as the foremost vocalist. She comes back with her fresh, rich, powerful voice unimpaired either in quality or in quantity, and at once resumes her place as the most satisfactory singer our public has known for many years. However exceptionally good other artists may be, it is undeniable that Parepa Rosa, more than any singer since Jenny Lind, has secured the affections of the American public. Her reception last night was enthusiastically cordial; and though her selection of pieces was hardly up to the usual standard of her concerts, consisting of a Weber aria, two ballads and the soprano part of a buffo duet, yet her listeners seemed thoroughly contented only to hear that gorgeous voice ringing through the resonant spaces of Steinway’s large hall.

“Indeed, so delighted was the audience with Parepa that their enthusiasm extended to all who helped her, and Mr. Levy, the cornet player, who performed magnificently, Carl Rosa, the violinist, and Signor Ferranti, the spirited buffo singer, were all repeatedly encored. Mr. Brookhouse Bowler, the tenor, also obtained a large share of applause.

“After the concert, Mr. and Madame Rosa received, at an elegant little supper at the Belvedere House, a number of friends well known in musical circles in this city. Among the ladies present was Mrs. Seguin, formerly the brilliant star of English opera in America. Brief addresses were made by Mr. Steinway, Mr. Weber, Mr. Watson, Mr. Holmes, Mr. Rosa and others, and the hostess of the evening was toasted with enthusiasm.”

“Rosa, more than any singer since Jenny Lind, has secured the affectios of the American public.” After the recital there was a supper at the Belvedere House to which friends from musical circles assisted, among them Mrs. Singer, the former star of English opera.

Review: New-York Daily Tribune, 09 January 1869, 5.

“The first appearance of Madame Parepa-Rosa in New-York since her visit to California filled Steinway Hall last night with an enormous audience, and for the favorite vocalist and her principal companions was the the occasion of a most gratifying reception.  It was a rare comfort to hear Madame Rosa’s rare voice and perfect style after the long musical fast to which we have been reduced, and the people seemed to appreciate the fact, for they applauded and recalled her as if they would never be satisfied.  She sang the celebrated scena and prayer from ‘Der Freischutz’ superbly, gave some English ballads, and took part with Mr. Brookhouse Bowler and Signor Ferranti in Tartini’s ‘Laughing Trio.’ Mr. Carl Rosa played a fantasia on Der Freischutz, and a Romanza of Beethoven’s, beside encore pieces, and was most cordially welcomed, as he richly deserved to be. A conscientious artist, with a fine touch, and intelligent style, he always gives pleasure. Mr. Brookhouse Bowler sang, among other things, a warlike aria from Costa’s oratorio of ‘Eli,’ and Signor Ferranti brought down the house with his buffo songs. Next to the return of Madame Rosa, the chief event of the evening, however, was the reappearance, after an interval of two or three years, of Mr. Levy, the cornet-player. This gentleman has probably no superior in the world on his special instrument. The sweetness and delicacy of tone, the brilliancy of rapid execution, and the breadth of expression which he manages to produce with it are wonderful. His performance kindled a great deal of enthusiasm.”

Review: New-York Times, 11 January 1869, 5.

“. . . Mme PAREPA-ROSA made her rentrée at Steinway Hall on Friday last, and was received, of course with the customary favor. The lady’s trip to California and journey across the plains has had no perceptiable effect on the beauty and charm of her voice. Nor has it increased her repertoire. We were favored with two familiar pieces—the scene from ‘Der Freischutz’ and MILLARD’S song of ‘Waiting’—an admirable composition. Both pieces were sung deliciously and encored. Mr. ROSA played a couple of morceaux clearly, and Mr. BROOKHOUSE BOWLER and Signor FERRANTI did credit to themselves and the programme. We cannot agree with the latter gentlemen and CAMPANA that it is necessary to ‘See Naples and Die.’ There are certain musical conditions under which it might be preferable to die without seeing Naples, or going anywhere near where its music is heard. Mr. J. LEVY, the great cornet player, made his reappearance on this occasion. He is, if possible, more remarkable now than when he made his bow to us some three yers ago. In brilliancy of execution, power and quality of tone, and general verve he is without an equal. It is indeed a privilege to listen to an artist of such singular merit. The public was clearly of this mind, for after each solo there was a tumult of applause and a demand for more.”

Review: New York Musical Gazette, February 1869, 28.

“Madame Parepa-Rosa has reappeared once more after her long absence and is as bright as genial and as musical as ever. Her voice seems even more pure and perfect than it has ever been. The world owes her a debt of gratitude for this one thing in addition to many others. She has proved that the most finished culture of the voice as an organ—a musical instrument—is not inconsistent with the most perfect artciualrtion of the words.  The aim of many good singers seems tobe but in one direction—the improvement of the power and quality of the voice. Enunciation, if it is thought of at all, has a mere secondary place. It sometimes seems as if they feared that the effort to speak the words plainly would have a tendency to impair the quality of the voice. Madame Rosa teaches them better. She shows them that this is an entire misapprehension, and also gives them a temptinh illustration of what may be accomplished in this respect by sufficient care and study. We hope her admirable example may have many followers.”