Parepa-Rosa English Opera: Martha

Event Information

Venue(s):
Academy of Music

Manager / Director:
Carl Rosa
Clarence D. Hess

Conductor(s):
Carl Rosa

Price: $1; $.50 reserved

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
21 November 2021

Performance Date(s) and Time(s)

18 Mar 1870, Evening

Performers and/or Works Performed

1)
aka Martha, oder Der Markt zu Richmond; Martha, or The Market at Richmond
Composer(s): Flotow
Text Author: Friedrich
Participants:  Parepa-Rosa English Opera Company;  William Castle (role: Lyonel));  Sherwood C. Campbell (role: Plunkett);  Zelda Harrison (role: Nancy);  Euphrosyne Parepa (role: Lady Henrietta);  Edward S. C. Seguin;  Gustavus F. Hall

Citations

1)
Advertisement: New-York Times, 18 March 1870, 7.
2)
Review: New York Sun, 19 March 1870, 3.

“Of the performance of ‘Martha’ last evening by the Parepa Rosa opera company we have none but favorable words to speak. The performers were admirably fitted to their several parts; the solos were well sung; the ensembles went smoothly together; the chorus and orchestra were unexceptionable.

“It is extremely pleasant to be able to speak in terms of such commendation of an English opera company, for as a general rule the critic is obliged to referring to the performances of operatic enterprises on an English footing to summon up all his reserved force of charity, to look at the matter through the spectacles of forbearance, to try to detect good qualities in poor voices, and redacting points in the performance of those who sing badly and act worse. An English opera has also become a synonym for people who tried to sing and did not know how, and is, as a general rule, a safe thing to avoid.

“But happily we have here at last an exception. The performance of ‘Martha’ does not require to be spoken of with toleration; it takes its place beside the best of the performances that our German and Italian companies? have given us. In the cast were Madame Rosa and Mrs. Seguin, and Messrs. Campbell, Castle, Hall, and Seguin. The former sang with all her accustomed excellence. Mrs. Seguin’s [sprightly?] acting gave great vivacity to the opera. In style and manner this lady is exceedingly like Miss Effie Germon of Wallack’s, and has much of the dash, pertness, and spirit of the bright and pleasing actress. Mr. Castle was in excellent voice, and found the Academy not too large for his strength. [illegible] was an exceedingly fine one.”

3)
Review: New-York Times, 19 March 1870, 5.

“The representation of ‘Martha’ at the Academy of Music last night was enjoyed by an audience that filled the house to overflowing. When sung at the French Theater by the same artists, the performance had hearty approval for its completeness, and it only remains for us now to give equally favorable testimony in relation to yesterday’s rehearsal, which was even more noticeable for smoothness and for fullness of effect. The rich voices of the singers, the unity of execution, the strength of orchestral and choral masses, and, lastly, the appropriateness of stage costumes and its realism, exemplified principally in the reproduction of an English Fair scene, were combined to make a deeper impression than any wrought since the earliest and best recordings of the opera here, Mme. Parepa-Rosa, as heretofore, was Lady Henrietta, Mrs. Seguin Nancy, Mr. Castle Lyonel, and Mr. Campbell Plunkett. A little more geniality in acting would assuredly be of benefit to most of these singers, but no better voices, more genuine earnestness or greater surety resulting from experience could be wished them. There was much applause during the evening, and the spinning-wheel quartet, the familiar ballad of ‘The Last Rose of Summer,’ the duet for tenor and baritone in the third act, and the tremendous finale of the same part, in which the choral texture was but a well-proportioned bass for the well-proportioned voice of Mme. Parepa-Rosa, were all repeated.”

4)
Announcement: New-York Times, 20 March 1870, 5.

“Flotow’s work, always one of the most successful represented by this company, was admirably performed and attracted much unqualified commendation.”

5)
Review: New York Post, 21 March 1870, 5.

“”Martha’ on Friday filled the house to repletion. If the languishing flowers of our social greenhouses were not, in their splendid attire, to be seen there, it was not the less imposing to notice one musical people drawn out in such a powerful numerically assembly, and testifying, by their repeated applause, that the Parepa troupe had struck, as if by the wand of a musical enchanter, their hearts. If the vocalization was loyal enough to the genius of Flotow, the setting of the opera was, in many respects, principally English. In the great fair scene, for instance, we behold pugilistic encounters, bear-dancing and hugging, and the contorted pranks of a harlequin. This eye-tableau seemed to vie with, if not outstrip, the best of the music in its absorbing attraction. Few operas have ever been more artistically given in our city than ‘Martha.’ Every lover of music bears it in his memory as fresh as a summer’s primrose. We will therefore avoid comparisons, and speak of the present troupe as their intrinsic merits deserve.

“Parepa stands first, and perhaps unrivaled, in the power, versatility and mellowness of her voice. Her vocal intonation is happily free from all taint of provincialism, and belongs to the great sisterhood of universal art. No Italian musical mirror could reflect more faithfully or more beautifully the Harriet of Flotow than she did last evening. It was such a vocal reproduction of the original created by the [illegible] to leave nothing to be desired.

“The Nancy of Mrs. Seguin was very complete in many of its [illegible] points. Her sweet and well-balanced voice is always acceptable to the musical ear, and goes on steadily improving; but a little more [illegible] in action and [illegible] are required to make her a [illegible line of text] Nancy to be. She has a promising future before her. Let her pluck the flowers of it by a closer attention to details.

“Castle’s Lionel was well received, and warmly applauded, but fell short of the ideal standard to which we have been accustomed. There are certain [illegible line of text] belonging to Lionel, while Castle [illegible], however sweet and pleasant his vocalization may be.

“Campbell’s Plunkett was [rest of paragraph illegible].

“The Parepa troupe, however, is great as a whole. [final sentence illegible.]”

6)
Review: New York Post, 21 March 1870, 5.

“”Martha’ on Friday filled the house to repletion. If the languishing flowers of our social greenhouses were not, in their splendid attire, to be seen there, it was not the less imposing to notice one musical people drawn out in such a powerful numerically assembly, and testifying, by their repeated applause, that the Parepa troupe had struck, as if by the wand of a musical enchanter, their hearts. If the vocalization was loyal enough to the genius of Flotow, the setting of the opera was, in many respects, principally English. In the great fair scene, for instance, we behold pugilistic encounters, bear-dancing and hugging, and the contorted pranks of a harlequin. This eye-tableau seemed to vie with, if not outstrip, the best of the music in its absorbing attraction. Few operas have ever been more artistically given in our city than ‘Martha.’ Every lover of music bears it in his memory as fresh as a summer’s primrose. We will therefore avoid comparisons, and speak of the present troupe as their intrinsic merits deserve.

“Parepa stands first, and perhaps unrivaled, in the power, versatility and mellowness of her voice. Her vocal intonation is happily free from all taint of provincialism, and belongs to the great sisterhood of universal art. No Italian musical mirror could reflect more faithfully or more beautifully the Harriet of Flotow than she did last evening. It was such a vocal reproduction of the original created by the [illegible] to leave nothing to be desired.

“The Nancy of Mrs. Seguin was very complete in many of its [illegible] points. Her sweet and well-balanced voice is always acceptable to the musical ear, and goes on steadily improving; but a little more [illegible] in action and [illegible] are required to make her a [illegible line of text] Nancy to be. She has a promising future before her. Let her pluck the flowers of it by a closer attention to details.

“Castle’s Lionel was well received, and warmly applauded, but fell short of the ideal standard to which we have been accustomed. There are certain [illegible line of text] belonging to Lionel, while Castle [illegible], however sweet and pleasant his vocalization may be.

“Campbell’s Plunkett was [rest of paragraph illegible].

“The Parepa troupe, however, is great as a whole. [final sentence illegible.]”