Italian Opera: Maria di Rohan

“Nothing less than such a deserving object as the benefit of the ‘Samaritan Home for the Aged’ and the earnestness and personal endeavors of a persistent, popular artist like Ronconi could ever tempt such a goodly audience of the bon ton to the bijou opera house of the leaguers on a night like last evening. Mr. Ronconi’s exertions to make this entertainment a success were not in vain, to judge from the brilliant assemblage of beauty and fashion that witnessed the performance. The opera was the ‘Maria di Rohan’ of Donizetti, of the plot of which we gave a synopsis before in the Herald. The cast was as follows: [see above]

“The opera was composed expressly for Signor Ronconi in 1842, and at its first production it created quite a furor. The story is a sad, tragic one, such as might be expected from those days when Richelieu was more than king in France, and Donizetti has told it in the sweetest music that ever emanated from his fertile brain. The melodies, choruses and ensembles in it are of a nature which must long linger on the ear, and the most intense dramatic passion breathes in every measure. Few of Ronconi’s admirers in this city, who have only seen him in his comic rôles, are aware of the depth of feeling and outbursts of passion which he can communicate to a tragic rôle. Those who saw him last night must have been surprised and delighted. Yet there is a still greater tragic rôle in which we saw him years ago, Rigoletto, which made a deep impression on everyone in the audience. As the unfortunate jester he is grand, and no one has rivaled him in the same rôle. Why does he not give at least one representation of this opera, the best that Verdi ever wrote? Mrs. Gulager made a very favorable impression in the title rôle of last night’s opera by her singing, and Miss Ronconi looked charming in the dress of the frail Abbe. The chorus was small, but well trained, and the orchestra, conducted by Maretzek, was all that might be desired. In the last act, when Chevreuse is impelled through frantic jealousy to kill his friend, Chalais, Ronconi displayed all the fire and passion of a great tragedian in both voice and acting. The finale of each act was sung with all the fervor such grand music demanded, and the orchestration colored the effective singing in the most complete manner. Altogether the performance was one which unhappily is too rarely heard and seen nowadays in Italian opera, and was well worthy of the notable object for which it was designed.”

“The most memorable operatic event of the season—memorable because it gave to the greatest tragic lyric artist living a chance to be heard as he should often be heard—was the performance last night by Ronconi of the part of Chevreuse in Donizetti’s noble opera, ‘Maria di Rohan.’ The representation took place at the Union League Club theatre in Twenty-sixth street, the singers being chiefly pupils of Ronconi, supported by a satisfactory orchestra led by Max Maretzek. The opening chorus was sung by a dozen or more of amateurs, who, after the first act, took their places among the audience. The price of tickets of admission was five dollars each, and all purchasers were requested to come in full dress. The result was that an elegant and fashionable audience filled the little theatre in every part, and the adjoining room had to be thrown open.

“Ronconi is chiefly known to the New York public as a buffo singer, and in ‘Crispino,’ ‘Fra Diavolo’ and ‘Don Giovanni’ he has furnished mirth rather than music. At the same time his special forte is in tragedy, as those who may attend the Academy of Music to-night and witness his performance of the heart-broken old father in ‘Linda’ may see for themselves. Last season he gave a magnificent picture of dramatic intensity in his delineation of Alfonso in ‘Lucretia Borgia.’ His Chevreuse, though less picturesque than this, is more exciting. In the first two acts of the opera it is quiet and dignified; but in the last, where the confiding husband and friend discovers that he has been deceived, the transition to rage and desire for revenge is positively startling. The irony Ronconi expresses by one simple ejaculation, when he confronts his wife with her lover, borders on sublimity. Nor is it alone in action that this great artist exhibits his force, for his vocalization is full of vigor and power, and at all times shows the culture and skill of the thorough artist. The splendid triumph of this magnificent old war-horse of Italian opera was promptly recognized by the delighted audience. But such a personation should not be confined to the limited circle of friends who enjoyed it last night. Ronconi should sing this part at the Academy of Music during the present season, and again prove to New Yorkers that he is a transcendent artist, and that Donizetti, in ‘Maria di Rohan,’ achieved one of his greatest triumphs as a writer of dramatic music.

“The prima donna last night was Mrs. Gulager a lady who, as Miss Brooks, has been for some time well known in musical circles in this city. She is tall and graceful, and dressed last night with admirable taste. Her voice is a high soprano, exquisitely soft, velvety and tender, reaching the highest notes with ease, and never showing any harshness. Though smooth, this voice possesses much power. A more creditable amateur performance of an exacting part we have seldom witnessed; and frequently the standard of the experienced artist was attained by this lady, who, we believe, has never before appeared on the stage.

“The part of Guido was sung by Miss Ronconi, whose artistic and delicate style of singing was well adapted for the small hall. She is a prima donna in miniature. Signor Boy, the tenor, took the part of Chalais, and acquitted himself well. In the first act he introduced the aria Deserto in terra from ‘Don Sebastian.’ The minor parts were all creditably filled by amateurs. It is gratifying to know that the pecuniary results of the eminently satisfactory operatic entertainment will be devoted to the benefit of an excellent charity. It success must certainly be gratifying to Ronconi and his accomplished pupils.”

“The performance of this opera last evening at the Theater of the Union League Club, under the direction of Signor Ronconi, for the benefit of the ‘Samaritan Home for the Aged’ was in every respect successful. The little theater presented a brilliant appearance, every chair being filled, and the request to appear in full dress was generally observed. The opera of Maria de Rohan abounds in highly dramatic situations and correspondingly effective music, presenting all the charms of Donizetti’s purest melody. Signor Ronconi, whom American audiences can scarcely be said to know otherwise than as a buffo, shows in this drama that he can fill, in look, voice, and action, the part of a nobleman. Maria de Rohan, a queenly part, was completely filled by Mrs. Philip A. Gulager. Miss Ronconi appeared as Armando de Gondi—‘an Abbe of the court, notorious for the levity of his character.’ She sang the music with taste and correctness, and, with Mrs. Gulager, was the recipient of ample applause and floral favors. Signor Boy acceptably presented the chivalric Count of Chalais. As this opera was composed expressly for Signor Ronconi, it deserves for this reason, as well as for its own merits, to be better known to the lovers of music in this city. Certainly those who heard it sung last evening enjoyed a richer and rarer entertainment than can ordinarily be looked for in an operatic performance at the Academy.”

“The performance of ‘Maria de Rohan,’ at the Union League Theatre, on Wednesday, was so successful as to deserve marked attention. As we have previously said, the representation was devised by Signor Ronconi, for the benefit of the Samaritan Home for the Aged. In this benevolent project, Signor Ronconi was assisted by several amateur vocalists of distinction, by Signori G. Boy, Chalier and Marzo, and the Mr. Max Maretzek. ‘Maria de Rohan’ was chosen as a work little known to our public, and originally written for him by Donizetti, one in which Signor Ronconi has gained high European fame. Tickets for the opera were placed at $5—the small size of the house making a high price essential to substantial results—and efforts were made in fashionable circles to make the occasion brilliant and memorable. These efforts, we are happy to say, were abundantly productive. The house was well filled, in spite of the rough weather, and the audience were delighted with an entertainment that, all things considered, deserves very high praise. Signor Ronconi’s assumption of Chevreuse was really magnificent, and although for some reasons might possibly have been more striking at the Union League Theatre than it would be likely to prove at the Academy, we hope the public may be allowed to see it at the latter theatre. Such a performance has necessarily a wholesome influence on public taste. It would not be easy to compute the improvement of a community in dramatic perception and appreciation that arises from witnessing the efforts of such artists as Fechter or Ronconi. In the third act of ‘Maria de Rohan’ the latter gentleman is positively great. The effect of the awful revelation of his wife’s unfaithfulness and his friend’s treachery is depicted by him as only genius can depict it. He was in excellent voice, too, and sang with plentiful force and volume. Mr. Maretzek should certainly let this personation be seen at the Academy. It is hardly gallant to speak otherwise than at first of the fair representative of Maria. Yet we are sure Mrs. Gulager will pardon such a precedence in the case of an artist like Ronconi, who is so famously identified with the part he assumed. Mrs. Gulager sang with remarkable taste, accuracy and feeling. Her voice is one of the purest and softest of sopranos, and her stage action, for an amateur’s, is free and natural. The lady has every reason to congratulate herself upon the favorable impression she created in a very arduous undertaking. Miss Ronconi’s sweet and delicate organ was heard to advantage in Gondi, and she sang the best song given to that reprehensible gentleman so well as to command an encore. Signor Boy was rather stridulous and emphatic in Riccardo, but he sang the music in a manly and conscientious fashion, and was much applauded. The chorus and orchestra were good, and Mr. Maretzek conducted with his usual dexterity and precision. The distinguished company present broke up in rare good humor, which but for the blundering confusion in which they found their carriages jammed together below, might have followed them to bed. Should other similar performances be undertaken at the Union League Theatre—and the success of this may well warrant them—this matter of the carriages should be properly regulated. That five hundred people should be kept for an hour shivering in the cold because of non-attention to a perfectly easy arrangement of detail, is simply intolerable.”

“Five Italian operas have been sung in New-York during the past week—‘Masaniello’ on Monday, at the Academy; ‘Maria de Rohan, at the Union League Theatre, on Tuesday; ‘Linda’ at the Academy, on Wednesday, and ‘Il Ballo in Maschera’ and ‘Fra Diavolo’ at the same house on Friday and Saturday. …[Discussion of Masaniello]. ‘Maria de Rohan,’ at the pretty Jerome Theatre, was, as we have already recorded, a decided success. Signor Ronconi deserves unstinted praise for the energy and philanthropic feeling he displayed in getting up this performance, no less than for the splendid ability of his acting in Chevreuse. To Mrs. Gulager’s merits as Maria we have already tried to do justice. We are glad to hear that the Samaritan Home for the Aged will benefit largely by this performance.”