New-Yorker Stadt-Theater Opera: Lucrezia Borgia

For Monday night.

For Monday night.

“Last night this distinguished contralto, who made such signal success last season in concert and opera, appeared at the German theatre, in the Bowery, for the first time as Orsini, in ‘Lucrezia Borgia.’ In the drinking song and other numbers of her rôle she displayed the qualities of a true artist, gifted by nature with a fine, resonant sympathetic and evenly registered voice. She also entered fully into the gay, careless spirit of the part, and her handsome face and fine figure, coupled with a dash and chivalric recklessness, so well befitting the rôle, brought a tempest of applause and a shower of bouquets each time she sang. Messrs. Rosenberg & Harmann have secured in her one of the most valuable artists on the German lyric stage. Her engagement lasts for two months, during which time she will appear in the principal lyric rôles, and ‘Le Prophet’ will be brought out especially for her to appear in her grandest character, Fides. Mme. Leichtmay [sic] made a decided success last night as the guilty Duchess. There are few prime donne on the stage so well suited for such an onerous rôle. Mr. Habelmann was weaker than usual as Gennaro, and Mr. Vierling failed to interpret the music of the Duke. The orchestra is composed of good material, but the leader lacks delicacy in the handling of it. The house was crowded from parquet to dome.”

“A creditable performance of ‘Lucrezia Borgia’ was given at the Stadt Theatre, although some liberties rarely attempted by German companies were taken with the score. Miss Lichtmay, an intelligent actress, as well as a singer of decided experience, sang Lucrezia with much passion and sufficient finish. Mr. Vierling lent the charm of a firm and sonorous bass voice to the music of the Duke, and Mr. Habelman represented with plaintive quality Gennaro. Curiosity had been awakened previous to the rendering of the opera, however, not by the intended efforts of these artists, but by the first appearance on the lyric stage of Miss Clara Perl. Yet the part of Maffio Orsini is not one fitted to allow aught but an approach to an estimate of a performer’s merit. Miss Perl seemed enlightened as to this fact, and she therefore added to the one ad captandum air in the work, ‘Di Tanti Palpiti,’ the delicacy of which her organ and style did not very clearly display. The drinking song, ‘Il Segreto,’ is one to which her resources are much more equal, although it may be said that a defective articulation of words lessens vastly the dramatic effect of Miss Perl’s singing. As her debut had ample encouragement, we shall be glad if its successful accomplishment cheers her on to more decisive combats.”

“The performance of ‘Lucretia Borgia’ last night at the Stadt Theater, whatever may have been its artistic merits or defects, unquestionably called forth an abundance of enthusiasm, and gave a stimulus to the bouquet business such as that branch of trade has not felt since Mr. Fisk first showered roses upon the legs of Montaland. The house was well filled, the applause was most demonstrative, and the calls before the curtain were many and hearty. Frau Lichtmay, who took the part of the heroine, has made herself a favorite with our Teutonic fellow-citizens; and though she is not an artist of the highest culture, and has a bad habit of screaming when she should not, she has an abundant voice which in most of its notes is of rich quality. The Maffio Orsini of the evening was Madame Clara Perl. She has sung here a number of times in concert, and was heard once at the Academy of Music as Nancy, in the opera of ‘Martha;’ but that appearance being, so to speak, by accident, ‘didn’t count,’ as Rip van Winkle would say, and her venture last night may be regarded as a debut. It was passably successful. Her pretty aria in the first scene (in Italian, Nella fatal di Rimini) was given very well indeed; her action throughout was pleasing and effective; and Rossini’s Di tanti palpiti, which she introduced in the second act, though it matched but ill with the very different texture of Donizetti, exhibited some of the better qualities of her voice, and the good side of her training. It was unfortunate for her, however, that the brindisi, which ought to have placed a splendid crown upon the evening’s efforts, was the number in which she appeared to least advantage. Her lower register is superb, but the upper is rather sharp, and the transitions from one to the other are singularly abrupt and disagreeable. Mr. Vierling was the Alfonso. He has an excellent baritone voice, fairly cultivated, and as he is free from all notably vicious tricks, he makes a most satisfactory singer, in the default of something better. Mr. Habelmann, in the role of Gennaro, did justice to himself, if he did not to the conception of the composer; by which we mean to say that he was in excellent voice, hardly once much out of tune, and not unduly oppressed by that funereal gloom which so often falls upon him in the most festive hours. The Gubetta was Mr. Franosch, a very acceptable basso. The company, as our readers may infer from the foregoing remarks, contains a great abundance of rich raw material, which is very much in want of polish. The chorus is of microscopic proportions, but smart and active for its size; the small utility parts are capably [illegible]; the stage appointments are decent, and the orchestra has improved since we last heard it.”

“Madame Clara Perl has been condemned by her physician to a week’s rest, and her reappearance is accordingly postponed to the 28th instant, when she will take the part of Rosina in ‘Barber of Seville.’ We are assured that she was seriously indisposed on the night of her debut as Orsini, and she purposes to repeat the role after her recovery, with the conviction that she can do fuller justice to it.”