Maria di Rohan

Event Information

Venue(s):
Union League Theatre

Conductor(s):
Antonio Barili

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
20 September 2023

Performance Date(s) and Time(s)

15 Feb 1871, Evening
17 Feb 1871, Evening

Performers and/or Works Performed

Maria di Rohan

Composer(s): Donizetti

Text Author: Cammarano

Participants: [tenor] Locatelli (role: Viscount of Suze); Albert E. [baritone] Valentine (role: Enrico); Federico [baritone] Martinez (role: De Flesque); G. [tenor] Boy (role: Richard); Eliza Mooney (role: Armand de Gondi); Virginia Paris (role: Maria)

Citations

Announcement: New York Sun, 23 January 1871, 2.

Barili’s plans to present opera with his students at the Union League Theatre

Announcement: New-York Times, 24 January 1871, 5.

Barili’s plans to present opera with his students.

Announcement: New-York Times, 12 February 1871, 5.

Includes roster.

Announcement: New York Post, 13 February 1871, 2.

Announcement: New York Sun, 13 February 1871, 3.

Announcement: New-York Times, 15 February 1871, 5.

Review: New York Herald, 16 February 1871, 10.

“Signor Antonio Barili, one of our resident voice trainers, gave Donizetti’s opera of ‘Maria di Rohan’ last night at this theatre, before a fashionable, if not large, audience. The ladies and gentlemen who appeared in it were amateurs, and most of them pupils of the Barili Brothers. The opera is by no means as interesting as the other works of this eminent composer, although its lack of striking melody is partly compensated for by some strong and highly dramatic ensembles and choruses. The cast was as follows [see above]. Miss Paris has a voice of remarkable sweetness, and it answers every demand in the vocalization of Donizetti’s florid music. Now and then it shrank from the responsibility of completing a cadenza and exhibited a want of dramatic fire, which left the rôle as free from effect and spirit as possible. The principal attraction in her impersonation, however, was her charming toilet, in the latest fashion—an anachronism, perhaps, but, nevertheless, pleasant to look upon. Miss Eliza Mooney surprised us by her really artistic rendering of a difficult rôle. Her voice can take rank with Miss Cary’s and she knows how to use it, too. She threw into each scene a spirit and fire which one could scarcely hope for in an amateur. As a contralto Miss Mooney need not acknowledge a superior on the American stage. Dr. Valentine should not attempt a rôle which Ronconi has made his own and which the doctor is totally incapable of interpreting. His appearance and make-up were of the burlesque order, and his extremely thin voice was innocent of all dramatic effort. The chorus and orchestra were far superior to the apologies which pass under those names at the Academy of Music, and Signor Barili proved an efficient conductor. Still, if some of the gentlemen would prune a little of their exuberant, Lord Dundreary whiskers, or sacrifice them altogether for the sake of art and consistency with the demands of the stage, the opera would be much benefited.”

Review: New York Post, 16 February 1871, 2.

“The performance of ‘Maria di Rohan’ at the Union League Club Theatre last night proved to be an amateur representation of more than ordinary calibre. The opera was given with but two or three omissions, and one of these was satisfactorily compensated for by the introduction of a very beautiful tenor solo composed by Signor Barili. Miss Virginia Paris, the prima donna of the evening, is graceful and winning in manner, and has a sweet, sympathetic soprano voice. She sings with intelligence, and her first aria, ‘Ben in il giorno,’ won for her very hearty applause. Miss Mooney, the contralto, has a superb voice, so rich and full that, with proper cultivation she ought to become the leading American contralto. She made a great hit last night. Signor Boy sang like an artist, as he certainly is. Dr. Valentine seemed nervous, but showed that he possessed a rich baritone voice. The minor parts were well taken, and the chorus of amateurs was so efficient that all regretted that the composer had given them so little to do.

Signor Barili conducted a small but really good orchestra with ability and judgment. The entire performance was enjoyable and interesting. It will not do to compare these clever amateurs with experienced artists, but as amateurs they were certainly more than successful, and Mr. Barili is to be congratulated on the happy results of his skill in the training of voices in the Italian school of music.”

Review: New York Sun, 17 February 1871, 2.

“An exceedingly pleasant performance of Donizetti’s ‘Maria di Rohan’ was given on Wednesday evening at Union League Theatre under the direction of Signor Barili. The principal parts were sustained by pupils of the maestro and of his brother, Ettore Barili. As a rule, amateur performances of operatic works have to be taken with allowance and with many qualifications. But we candidly say that this one needed scarcely any excuse. It was in every way creditable to those concerned, and was interesting as an intelligent and capable interpretation of a work of much difficulty and great beauty.

Miss Virginia Paris, the soprano, Miss Eliza Mooney, the contralto, and Dr. Valentine, baritone, are deserving of special commendation. Miss Paris was deficient only in her singing of recitative. Her arias, especially the prayer in the last act, were charmingly sung, and her acting was full of ease and grace. As for Miss Mooney, her voice is of exceptional beauty, richness, and flexibility. It would discredit no lyric stage whatever. Dr. Valentine also, after the first nervousness, sang with great freedom and spirit, and with an admirably correct intonation. He has a voice of noble quality, clear, vibrant, and well disciplined. He has, however, a habit of [illegible] in his voice, of reducing it too frequently to sotto voce, using, in fact, the extremes, instead of the medium of vocal force. Of course such transitions from forte to pianissimo are allowable, but, used too frequently, they are apt to become mannerisms. This, however, is a matter of taste and not a question of defect. When the exigency of the situation [illegible] out all Dr. Valentine’s powers, he sang with genuine dramatic[illegible].”

10)

Review: New-York Times, 17 February 1871, 4.

“We described, some time ago, a scheme contemplated ty Signor Antonio Barili for the general development of lyric art, and for the especial purpose of giving clever amateurs an opportunity to test their powers in public. Such opportunity is seldom afforded on the regular operatic stage, the risk involved and the definite arrangements of artists being serious obstacles. There are, however, not a few ladies of supposed talent and undoubted culture, who would gladly become professional singers of opera, if encouraged to do so by a fair share of success behind the foot-lights. Signor Barili has found as a teacher that such cases are numerous, and he has been willing to make some sacrifices and incur some pupils to furnish the wished-for opportunity. On Wednesday evening last, the first amateur opera given on this basis, and under Signor Barili’s baton, was heard at the theatre of the Union League Club.

The ‘Maria de Rohan,’ of Donizetti, was the work chosen for this essay, and, considering all the circumstances, it was very nicely rendered indeed. Signora Virginia Paris, the Maria, has a well-trained light soprano, less awkwardness than is usual with a novice, a face of the Semitic type, which is usually effective on the stage, and a good figure. We cannot, as yet, see promise of greatness in the young lady’s performance, but it was well defined and intelligent in purpose, and vocally quite creditable. She lacks mobility of expression, both of visage and voice, but these may come in time, and she is otherwise well equipped for the arduous career she contemplates. Miss Eliza Mooney, the Gondi, has a superb contralto, which she uses, in most instances, remarkably well, and she adds to this prime gift decided dramatic ability. Miss Mooney unquestionably possesses the making of a very fine artist. The last Chevreuse seen here was a performer of the highest rank; a man of genius, in truth, of immense dramatic power and depth of feeling, and deficient only in that vocal capacity which, alas! cannot last forever. Dr. Valentine, the new Chevreuse, is nearly the reverse of this. He has a lovely baritone, but unhappily, as yet, he has ‘vox et praeterea nihil.’ Other qualities may come in time, and we hope they may. With an organ so rich, so sweet, so flexible, and so sonorous, Dr. Valentine may be encouraged to attempt anything. His drawbacks at present are those usually associated with a lack of familiarity with the stage, and none of them, so far as we can see, may not, with industry and experience, be overcome. Sig. Boy sang Richard, a part in which he has already been heard here, with resonant emphasis and considerable feeling. The chorus and orchestra were unexpectedly good, and, altogether, Signor Barili has abundant reason to congratulate himself on the propitious opening of his campaign.”

11)

Review: New York Post, 18 February 1871, 4.

“The second performance of ‘Maria di Rohan’ at the Union League Theatre last night was in many respects an improvement on the previous performance. Miss Mooney, the contralto again made a hit in the one brief aria which the composer allots to Gondi, and a general desire was expressed to hear her in another part. Miss Virginia Paris acted and sang in a most graceful manner. Her best performance was in the exquisite air, “Avvi un dio,” which she sang with tender feeling. Signor Boy was uniformly good, making the most effect in the interpolated aria by Barili. The chorus and orchestra rendered excellent aid.

The little troupe which Signor Barili has gathered together is now disbanded. At least, no other opera is in preparation. There, however, should be a third performance of ‘Maria di Rohan.’ It is a fine melodious work, and is presented in an unpretentious but most enjoyable manner.”

12)

Review: New-York Times, 19 February 1871, 4.

“On Wednesday a performance was given of Donizetti’s ‘Maria di Rohan,’ in which most of the parts were sustained by amateurs. This was so successful that it was repeated on Friday, and gained great credit for Signor Barili and his pupils.” [Part of a longer article on Amateur Opera]

13)

Announcement: New York Clipper, 25 February 1871, 374.

“Miss Virginia Paris, an amateur prima donna, with a sweet, sympathetic soprano voice, achieved quite a success in ‘Maria di Rohan,’ under Sig. Barili’s batonship, at the Union Club Theatre on the 15th inst. Miss Mooney’s contralto was also much admired.”