Messiah

Event Information

Venue(s):
Steinway Hall

Manager / Director:
Max Strakosch

Conductor(s):
George Frederick Bristow

Price: $2; $3 and $4, reserved

Event Type:
Choral

Record Information

Status:
Published

Last Updated:
17 March 2023

Performance Date(s) and Time(s)

29 Nov 1870, 8:00 PM

Performers and/or Works Performed

Citations

1)
Advertisement: New-York Times, 15 November 1870, 7.
2)
Announcement: New-York Times, 15 November 1870, 5.
3)
Announcement: New York Post, 28 November 1870, 2.
4)
Review: New York Herald, 30 November 1870, 10.

“The second and last performance of ‘The Messiah’ was given last night at Steinway Hall. The audience was much larger than before, and it would have been a relief had the small hall been been thrown open to accommodate the surplus and to give vent to some of the caloric. The chorus, orchestra and soloists were the same as on Friday night, and George Bristow the conductor. The performance was even better than on that occasion, the ensemble, shading and expression being more carefully marked. With all due respect to tradition, we venture on the bold opinion that it sometimes acts as a dead weight in oratorio. We know the pious horror evinced by its disciples on hearing Mlle. Nilsson break away from its trammels and endeavor to breathe a dramatic spirit of her own in certain passages. We now think that in the performance of ‘The Messiah’ considerable benefit might be done by a change of some of the numbers, so that the ‘Hallelujah Chorus, which everyone must admit is a grand climax, should end the work. ‘I know that my Redeemer liveth’ is very badly placed, coming after such a colossal chorus. We speak in a practical, not theoretical sense. One can observe the feeling, shall we call it, of satiety, unmistakably shown by the audience after the ‘Hallelujah Chorus.’ We can safely assert that the last part of the oratorio does not receive the attention or impart the enjoyment that might be expected of such music, for this reason alone. Regarding Mlle. Nilsson’s rendering of ‘I know that my Redeemer liveth,’ we cannot commend the constant introduction of the portamento in it. Take, for instance, the first two words and notes, ‘I know.’ The effect is much better when the second note is cut off sharp than when it is joined by a portamento to the succeeding G sharp. By dropping the portamento or gliding of the voice more declamatory effect is gained, and each phrase of the sublime words stands alone, a true picture in itself. Nilsson’s great qualities in oratorio, we opine, independent of the extraordinary purity of her voice, consist in her enthusiasm and perfect accord with the holy spirit of the music. We heard her predecessor, Parepa, give those notes out with all that richness and perfection of tone for which she was so famous, but we missed until now the deep devotion, and, if we may be allowed to use the expression, utter immersion in that ocean of religious feeling in which the spirit of Handel moves and has its being. We care little for tradition when we hear and feel the spirit of the music as interpreted by a great artist. Nilsson made us feel this, and therefore has established herself in the hearts of every one who heard her. Whatever her faults in emphasis and conception of idea may be, she possesses one great quality which no one can deny her, and that is earnestness. She sings with her whole soul, and whether it be ballad, operatic aria or oratorio, that quality alone carries the audience with her. She will not return to us probably for some time, although the mysterious Strakosch’s councils are inscrutable, but when she does come we trust to see her in opera. There, we confidently assert, she will astonish even those who have heard her every time she sing [sic] in this city, for she is naturally all actress, and her voice will take a new color in the impassioned scenes of grand opera.”

5)
Review: New York Post, 30 November 1870, 2.

“The attendance at the performance of the ‘Messiah’ at Steinway Hall last night was much larger than at the first rendering of the oratorio. Every seat in the hall was occupied, and the standing room at the rear of the seats was overcrowded. About a third of the audience left after the singing of ‘I know that my Redeemer liveth.’

“The oratorio received, on the whole, a more satisfactory performance than on the first night. The choruses were well given, and ‘Unto us a child is born’ was especially effective. By special request of the conductor the performers stood during the ‘Hallelujah’ chorus.

“Miss Nilsson sang with great sweetness, her exquisite voice being at its best. Disregarding precedents, she sang with an abundant use of the portamento, to which those educated in the true school of oratorio might object; but on the audience generally she made a great effect.

“Miss Cary sang superbly. Her rich voice is wonderfully even throughout its entire compass, and she is always true to pitch. Mr. Simpson and Mr. Whitney did their utmost, and the orchestra was not as bad as on the first night.”

6)
Review: New-York Times, 30 November 1870, 5.

“To our notice of the first performance of this oratorio [NYT 11/26/70, p. 5] we have nothing to add.”