Albites Italian Opera: Sicilian Vespers

“After an arduous tussle with Gounod the manager of the opera determined to fall back again on Verdi. There is generally sufficient noise in the character of this music to suit the exuberant conductor and the very demonstrative reeds and brasses of his Teutonic band. The ‘Sicilian Vespers,’ fine as the subject and libretto may be, is by no means the most agreeable of Verdi’s works to listen to, and requires much more time for rehearsal than Signor Albites’ company could afford. Some of the choruses and scenas are terribly labored and fragmentary in character, and the slightest deviation from the score stands out more prominently than in any other of Verdi’s works. Then it requires grand mise en scène, ballet and other accessories, which neither the Academy nor the brief time in which the opera was rehearsed could very well furnish. The cast was as follows [see above]. Mme. States made a genuine success in her trying rôle, and the celebrated bolero in the last act was greeted by an overwhelming encore. The tenor part is also exceedingly arduous, and Signor Villani interpreted it like a thorough artist, and in the duet with the baritone—Suo carnefice fosti—his voice rang out with unwonted brilliancy. Signor Orlandini was in better voice than on previous occasions, but Susini was lamentably out of tune and voice.”

“There is a tenderness and pathos in much of the music which Verdi has produced in the ‘Sicilian Vespers’ which is surpassed in none of his other operas. The scena for the baritone, the superb duet for the tenor and baritone and several of the concerted pieces show this. There are some notable contrasts. The finale of the first act, in which the whispered murmurs of the conspirators throw into such bold relief the delicious melody sung by the thoughtless revelers in the pleasure boat, is one of the most striking effects in the whole range of the lyric repertoire.

“The opera has been given here in days past in a most admirable style. That delightful singer, Madame Colson, took the leading part, and Brignoli, Ferri and Junca have all made notable successes in the work. The opera has always been a fashionable one here, though it has not hit the popular taste like ‘Ernani,’ ‘Trovatore,’ ‘Traviata,’ ‘Rigoletto’ and a few other of Verdi’s works.

“In the representation of the ‘Sicilian Vespers’ at the Academy last night, Mrs. States won the most applause, receiving an instant encore in the fine aria, ‘Ah! si parli un core,’ and another in the bolero of the last act. This latter is so brilliant and taking a bit of melody that it must be very badly sung to fail to please. Mrs. States sang it fluently enough, but in the altissimi notes in the last part of the aria she was badly out of tune.

“Villani, the tenor, made some excellent points, especially in the duet with Orlandini. Susini, as usual now-a-days, could not control his voice.

“The last act was badly mutilated. The air for the tenor and the final trio—both of them among the most melodious numbers in the entire composition—were omitted. Altogether ‘The Sicilian Vespers’ was not given in a style worthy of Mr. Albites’s previous management. Mr. Nicolao hurried the tempi in several parts, as if he were very anxious to get through as soon as possible regardless of the sentiment of the music. “

“M. Albites varied the monotony of the regular repertory by producing, last evening, at the Academy, ‘I Vespri Siciliani.’ The [huge?] audience to which the past three weeks’ experience has accustomed the artists was not wanting, nor was its expressive manner of showing approval of the performance. A few passages of Signor Verdi’s composition, interpreted with proper spirit and resources, sustain the work, which in its entirety is ambitious and elaborate rather than impressive. To these portions of ‘I Vespri’ was done ample justice, yesterday, by Signor Villani, Signor Orlandini, Signor Susini, and Mrs. States. The first of the five acts passed off rather quietly, but in the second, Giovanni di Procida’s air, ‘O Tu Palermo,’ recited by Signor Susini, in spite of a then incipient hoarseness, which became fatal before the entertainment ended, produced an excellent effect. In the third scene the duet between Signor Villani and Mrs. States, commencing ‘’Presso alla Tomba,’ was more striking still, and the soprano’s very difficult cadenza, brilliantly executed by the lady, awoke actual enthusiasm. The finale of this part of ‘I Vespri,’ the chorus ‘Del Piacet,’ was very well sung, and it closed the act with the best results. In the third act, the tenor and bass duet, Mentre con Templo,’ was admirably delivered by Signor Villani and Signor Susini, while the finale was done with precision and power. In act the fourth, the cavatina ‘Giorno and Pianto’ was sung with much sentiment by Signor Villani, and the duet ‘O Dolce Raggio,’ for soprano and tenor, was rendered with all desirable energy. The fifth act will be remembered chiefly by its exquisite bolero, ‘Merce Dilette Amiche,’ which Mrs. States recited with so much ease and sparkle that its repetition was exacted by an unanimous demand. Having thus noted the salient points of the representation, we may say in regard to the stage=setting that it denoted unusual care and liberality, without, of course, reaching that perfection which, in view of what we may rather irreverently designate as the padding of the score, is commendable, if not actually necessary. Signor Nicolao did more creditable labor than usual, but we cannot overlook the need for a more appreciative reading of pages of which the melodic beauties depend for exposition on the orchestra.”