Last Nilsson Matinee

“The two farewell Nilsson concerts were the only concerts of interest during the past week. They took place at Steinway Hall on Wednesday evening and Saturday afternoon. She was assisted as usual by Miss Cary, M. Vieuxtemps, Signor Brignoli, and a poor orchestra under the direction of Max Maretzek. The audience at each one was very large. It is reported here that Miss Nilsson is to remain in this country all next summer and winter, and sing in opera in the fall. Her engagement with Mr. Strakosch expires very soon.”

“Steinway Hall was a parterre of beauty and fashion yesterday, when the Swedish Nightingale took her leave of those who were the first to welcome her to the shores of America and to start her on that career of triumph which has had nothing to equal it here. In another week the hundredth night of her engagement with Strakosch will arrive, and then it is a matter of doubt whether the indomitable Max or Jarrett (her agent) will have the sole control of her movements. A few days, however, will decide this point, and, at all events, she will be the reigning star in opera next season. She was in splendid voice yesterday, and sang the ‘Ah! fors e lui’ the finale of the first act of ‘Traviata,’ with a dramatic fervor and passion that carried her hearers by storm. Her greatest success was in the garden scene from ‘Faust,’ in which she sang and acted ‘The King of Thule’ and ‘The Jewel Song’ in a style that made all sigh for the time when they can see her as the Gretchen immortalized by Goethe and Gounod. In the second part of the concert she contributed two selections and she responded with ‘Home, Sweet Home,’ ‘Old Folks at Home,’ a Swedish song and a French chansonette. Miss Cary sang an aria from ‘Dinorah,’ and seemed to be suffering from indisposition. Brignoli divided the honors with the diva, and outshone himself in the ‘Belisario’ duet with Verger and an aria from ‘The Star of the North.’ Vieuxtemps played his magnificent Polonaise, a standard work in violin literature, with that artistic finish for which he is so celebrated. He also played an obligato to a baritone aria, ‘J’amie,’ which was given by Verger with unusual effect and expression. Altogether the farewell of this unrivalled concert troupe and their distinguished cantatrice was worthy of the occasion, the metropolis and art. It will be long before such a concert company can be assembled together, so complete and so great in ensemble and detail.” 

“A genuine matinée audience was gathered at Steinway Hall yesterday to enjoy the Nilsson concert. The programme was an admirable one, and the artists were in excellent spirits. Miss Nilsson was especially cheerful, and her almost exuberant geniality quickly communicated itself to the audience, and thawed it into a condition of warmth not common to day assemblages at places of amusement. The bill included selections from the repertory drawn from during the present series of entertainments, and it does not call, therefore, for fresh attention. One exception to the charge of familiarity against the pieces is to be made, however, in favor of the romance ’T’Amai,’ written by Schira, and sung with much delicacy and finish of execution by Signor Verger. Instead of the intended violoncello obligato, a violin accompaniment was supplied by M. Vieuxtemps. The principal compositions remaining were ‘Ballad and Polonaise,’ by M. Vieuxtemps, ‘Ah! Fors’è lui ,’ by Miss Nilsson, the aria from ‘Dinorah’ by Miss Cary, the romance from ‘L’Etoile du Nord’ by Signor Brignoli, and ‘Voi che Sapete’ from ‘Le Nozze,’ and the Jewel song from ‘Faust’ by Miss Nilsson. Although a slight cold clouded somewhat the lower notes of the Marguerite, the delivery of the last-named number was impressive in a degree never previously attained to. As an evidence of the histrionic power of Miss Nilsson her performance yesterday was quite as convincing as the proof afforded by her efforts in the scene from ‘Hamlet.’ –Apropos of the lady’s eminence as a lyric actress, and of the chances of according it more frequent recognition in a series of operatic representations, it is not inopportune to say here that Miss Nilsson occupied, on Friday evening, a proscenium box at the Grand Opera-house. The box was adorned with rarest flowers, and many speculative speculators, because of the decoration, and aware of the rumors of negotiations with the management, expressed a certainty that the earliest appearance of the singer on the operatic stage will be effected at this theatre.”