Complimentary Concert to Ida Rosenburgh

Event Information

Venue(s):
Steinway Hall

Conductor(s):
Napoleone Carozzi

Price: $1; $.50 extra for reserved seat

Performance Forces:
Instrumental, Vocal

Record Information

Status:
Published

Last Updated:
22 September 2023

Performance Date(s) and Time(s)

27 Feb 1871, Evening

Performers and/or Works Performed

1)
LIST OF PERFORMER(S)/ORGANIZATION(S)
Participants:  Arion Gesangverein;  Franz Remmertz;  Clara [contralto] Perl;  Carl [violinist] Hamm;  Sebastian Bach Mills;  Charles [cellist, composer] Werner;  William Candidus;  Ida Rosenburgh
2)
Roméo et Juliette, waltz
aka Romeo et Juliette, waltz
Composer(s): Gounod
Participants:  Ida Rosenburgh
3)
Rigoletto, aria
Composer(s): Verdi
Participants:  Ida Rosenburgh
4)
"Lover and the bird, The"
Composer(s): Guglielmo
Participants:  Ida Rosenburgh
5)
Work, vocal, unidentified
Composer(s): Rossini
Participants:  Clara [contralto] Perl
6)
Serenade, cellos (5), double bass, timpani
Composer(s): Schwenke
7)
Serenade, cellos (4), op. 29, G major
Composer(s): Lachner
8)
Fantasia, violin
Composer(s): Vieuxtemps
Participants:  Carl [violinist] Hamm

Citations

1)
Announcement: New York Post, 22 February 1871, 2.
2)
Announcement: New York Post, 25 February 1871, 2.
3)
Advertisement: New York Herald, 27 February 1871, 2.
4)
Announcement: New York Sun, 27 February 1871, 2.
5)
Review: New York Post, 28 February 1871, 2.

“There was an unusual friendliness in the social atmosphere at Steinway Hall last night. The very large audience present represented a nationality and a religion; and all its members were unanimous in awarding their cordial support the young prima donna who appealed at once to their aesthetic appreciation and to their friendly sympathies. Miss Ida Rosenbergh is young, tender, graceful and modest. These qualities are always charming in themselves; but when added to a refined musical organization and enhanced by the gift of a sweet, pure voice, few can resist their influence. Evidently nobody wished to offer such resistance last night; and so Miss Rosenbergh has no reason to complain of the character of her reception.

Her voice is a bright, flute-like soprano. It has been well trained by Errani, who has taken a kindly pride in his young pupil, which she and her friends can best appreciate. The public generally will recognize his skill in its results. Miss Rosenbergh vocalizes with grace and ease, produces excellent ‘runs,’ can sing a chromatic scale with accuracy, and can fling out staccato notes in the higher register with precision and certainty. All these acquirements she showed to good advantage in the waltz movement from Gounod’s ‘Romeo and Juliet.’ Her other selections were an air from Rigoletto and Guglielmo’s pretty song, ‘The Lover and the Bird.’ All of these, with one or two encore pieces, she sang with taste and good effect. If years bring greater physical strength to this charming young singer she will surely fill an honorable place among the concert sopranos of the day, while in a certain range of opera she may also hope for success.

The concert of last night was a varied one. Clara Perl sang in a superb style one of Rossini’s brilliant arias—one of those selections which are created expressly for rich contralto voices. The Arion Society sang two or three choruses in their usual unimpeachable manner. Five violoncellists, headed by that finished performer, Mr. Charles Werner, played a serenade by Schwenke—a graceful, subdued bit of writing, very charming in itself, though rather melancholy, if viewed simply as a serenade. Mr. Remmertz sang. He is popular with the Germans here; but he has no idea of the spirit of a Scotch song.
 
Mr. Hamm, the violinist, played a fantasia by Vieuxtemps. He draws his bow with grace, and his tone is always neat and refined though it demands a greater breadth to be wholly free from monotony. He produced some delightful effects, however, and was deservedly applauded. Signor Carozzi, the accompanist of the evening, deserves volumes of praise for the masterly and unobtrusive way in which he performed his task—a task, by the way, which is the most difficult and the most thankless which the concert-room offers, and in which only a thorough musician can give satisfaction, though he but seldom will find appreciation, and never applause.”
6)
Review: New-York Daily Tribune, 01 March 1871, 4.

“The concert given at Steinway Hall on Monday evening was a testimonial offered by the Arion Society to a pleasing young vocalist, Miss Ida Rosenburgh, who is going abroad to complete her musical education. The Arion male chorus was present in respectable force, and sang two or three excellent selections, and the hall was entirely filled with a well- dressed audience. Miss Rosenburgh has a clear and pleasant soprano voice, perfectly true and even, one that promises to become very effective. Her training has been in the best school, and is thorough as far as it has gone. She is young, and of course is not yet an accomplished artist, but she has no bad tricks to unlearn, and we shall be surprised if she do not return from Europe some day as a brilliant vocalist. There is not much natural pathos nor much warmth in her voice; but Carlotta Patti is a proof that effective singers can be produced without these qualities. Miss Rosenburgh was assisted by Madame Clara Perl, Mr. S. B. Mills, Mr. Remmertz, Mr. Hamm, Mr. Werner, and several other artists. One of the curiosities of the programme was a serenade by Schwenke for five violoncellos, double bass, and tympani. It was a pretty and graceful composition, and secured for the principal performers a recall, when they substituted Lachner’s Serenade for four violoncellos. Mr. Mills played one of Tausig’s pieces.”