Parepa-Rosa English Opera: Daughter of the Regiment

“M. Strakosch has engaged for the Nilsson opera season of next year the celebrated tenor Capoul, of the Theatre Lyrique in Paris. The engagement of the basso Jamet, as also of Brignoli and Miss Cary, has already been announced.”

“The engagements for the opera troupe of which Miss Nilsson is to be the principal artist, and Mr. Strakosch the manager, during the approaching Fall, are increased in number. Yesterday a contract was signed with M. Capoul, the French ténor léger, whose good looks and sweet boice made him the favorite of Paris throughout the three of four seasons closing with the outbreak of the war. The engagement of M. JAMET we have already referred to. That of Signor Brignoli and of Miss Carey (a re-engagement) has also been effected [sic]. On Wednesday next Mr. Strakosch goes to Europe, with a view of there competing the company.”

Members of the company, including Euphrosyne Parepa-Rosa, to sail from Liverpool next Saturday.

Arrival of Mme. Parepa-Rosa and her company; rehearsals to begin on Sept. 2.

Arrival of the company yesterday.

“The English Opera Company’s three weeks season [sic] at the Academy is to open on the 2d of October. The principal members of the troupe have already been named in The Tribune. The sopranos are Madame Parepa Rosa, Mrs. Van Zandt, and Miss Clara Doria, who, we may add, is said to be not only a good singer but a beauty. The contraltos are Mrs. Zelda Seguin, Miss Schofield, from Covent Garden, and Mrs. Aynsley Cook; the tenors include Mr. Tom Karl and Mr. Wm. Castle; the baritone is Mr. Aynsley Cook; and the basses are Mr. S. C. Campbell, and a new basso profundo from London, Mr. Ellis. Mr. Carl Rosa has been at the cost of bringing over from Covent Garden the chief members of his chorus. The orchestra is also largely reënforced from London. The season will open with ‘The Daughter of the Regiment,’ and several new operas are in preparation.”

Long article anticipating the fall operatic season. Praise for Parepa-Rosa with some review of her previous musical activities in New York; praise for her husband, Carl Rosa; a preview of the singers in the Parepa-Rosa company. “During [Parepa-Rosa’s] five years’ career in the United States she has done more to elevate the standard of art and improve the public taste, than all the other great singers who have been here during the last ten years have effected among them. What Theodore Thomas has done in one branch of music she has done in the other.”

Roster and repertory.

Comments on the latest official announcement of the forthcoming season.

The great event of the week.

Promise of the season offered by tonight’s event.

“There was a gathering together of all that was choice in fashion, art and literature at the Academy last night. Dress circle, parquet and boxes were alike resplendent in the gay toilets of the ladies, dotted by the gentlemen’s somber black suits of the ‘claw-hammer pattern.’ Nearly every lyric artist of note in the city was there, and coteries of managers clustered in the lobbies discussing the merits and demerits of the company. No less than six tenors stood on the steps at the entrance giving their opinions of their new rival in tones of recitative. A corporal’s guard of basses growled their praise or the opposite in the foyer, and stray prime donne in the boxes held a caucus of their friends during the entr’-acte. There were a few speckled Teutonic conductors also on hand, lamenting the absence of the music of the future and its peculiar exponents. It was a brilliant and encouraging commencement of the opera season, and the management may feel confident that the public will not be lacking in their appreciation of good music this fall. English opera, since the days of the Seguins, has had a spasmodic and chequered existence in this country. Its first essay at popularity in the Park Theatre was a successful one, but when the Sequins relinquished the reins it drooped and sank out of existence. The brilliant season of the Pyne and Harrison troupe forms the next epoch in the career of English opera, and was the means of giving it a fair start. Miss Richings, Castle and Campbell were the most noted representatives in later times, until the reigning queen of oratorio and concert, Mme. Parepa-Rosa, assumed the management of this very uncertain and risky species of amusement. Her first season proved an entire success, owing to the fact that she took especial pains in presenting a first class company, with as good surroundings in the stage department as could be procured. Last night she selected Donizetti’s sparkling opera, ‘The Daughter of the Regiment,’ as an opening attraction, and although, of course, she as the prima donna monopolized the best of the music, yet she introduced in the other parts new artists. Of these, the principal was the tenor, Tom Karl, who comes from Italy with strong endorsements from the conservatoires, the public and the press. There is a good opportunity for a tenor di grazia to show what he can do in the rôle of Tonio, and Mr. Karl availed himself of it with the gratifying result of a complete success. His voice is of light caliber, as a matter of course, but the timbre is exquisite, and possesses a sympathetic quality which in such an air as that in the second act, ‘Sweetly Her Smile was Beaming’ (introduced instead of the ordinary aria), was inexpressibly charming. He has also the important quality of facility in executing florid music and of singing in true accord in concerted pieces. At times his voice reminds one of Brignoli, and he seems to have some of the wonderful effect in mezza voce which is the distinguishing feature of that favorite artist. He has also a fine, graceful stage presence, and an easy, natural style of acting. The nervousness and excitement consequent upon a first appearance had the usual effect of marring many of Mr. Karl’s most prominent efforts, but he gave sufficient evidence of possessing all the qualities necessary for a tenor in English opera, even if he could not use them always with discretion. The sergeant, Sulpice (Mr. Aynsley Cooke), was another new face, and one that is likely to become a favorite. There is nothing particularly striking in his voice, but it is good, under complete control and trained in a genuine musical school. As an actor he is irreproachable. His wife, who undertook the small part of the Marchioness, had not much to do or sing, but did that well. The same may be said of Mr. Gustavus Hall. The music of Maria gave Madame Parepa-Rosa’s grand voice full scope for display, and she sang it as she does all kinds of music, with a spirit and artistic finish that drew enthusiastic applause even from the cold habitués of an opera house. In the singing lesson scene with the Marquise she gave with [illegible] those pyrotechnic cadenzas with which Jenny Lind used to electrify her hearers. There is a marked improvement in Mme. Parepa-Rosa’s acting; but we question the propriety and judgment that selected such a rôle for her. It might answer for a Bosio, Jenny Lind or Piccolomini, but Mme. Parepa-Rosa’s forte lies in rôles of a very different kind. The chorus, numbering over forty, is the best we have ever heard at the Academy, and is a positive treat after the howlers from avenue C. The orchestra, also consisting of forty members, was equally good, well balanced and ably conducted by Carl Rosa. The flute and oboe solos in the opera were very artistically rendered, and the ensemble was without a flaw.”

“There is little to qualify congratulation on the brilliant success made last night by the English Opera Troupe. When assured, some months back, that Mr. Rosa was resolved to outdo what had hitherto been seen here in the same field, we were well aware that no common effort would be made to carry out the spirited resolution. Mme. Parepa-Rosa is indeed a host in herself, and so accomplished and popular an artist might fairly depend upon her own unaided attraction. We have seen, before, what she has achieved when practically placed in such a position. We have seen enough to feel assured, that ‘Though the many lights dwindle to one light, there is hope if the heavens have but one,’—provided Mme. Parepa-Rosa be that light. The idea of doing English opera on a really fine scale, and with such leadership to give it character and direction, was nevertheless grateful; and we are glad to say that results so far have quite outshone even what the public had been led to expect.

“The appearance of the Academy of Music last night fully justified the brightest anticipations which have been formed of the prospects of the opening season. Save about the usual proportion of vacancies in the stockholders’ boxes, the house was crowded in every part, and the audience was pervaded by that indefinable air of elegance and those hundred little evidences of sunny temper which always presage a fortunate music campaign. The opera chosen by Madame Parepa Rosa to inaugurate her enterprise was an English version of Donizetti’s ‘Figlia del Reggimento.’ It is a bright and charming work which, though it abounds with good scholarly writing, makes no severe demands upon the intellectual faculties of the audience, and is therefore peculiarly well suited for the opening night of a season, when people are too busy searching out new and old faces, exchanging greetings, and studying one another’s dress, to appreciate any music which requires close listening and some reflection. Moreover it is a week in which Madame Parepa Rosa appears, not indeed in her greatest, but certainly in her very pleasantest aspect. No one who has seen her Rosina and Susanna needs to be told that in what may be called soubrette parts she is very charming. She has a pretty piquant manner, a quick appreciation of humorous opportunities, and an unflagging vivacity which affects all her associates on the stage. In the character of Maria last night she gave all these qualities full play, and the success of her dramatic impersonation was enhanced by the fact that she looked handsomer than ever, and that both her costumes—the vivandiere dress in the first act, and a white silk afterward— became her remarkably well. Of her singing we can say but a few words, for it offers no excuse for criticism, and praise has been exhausted. It is only necessary to record that she returns to our boards with the same grand, clear, and beautiful voice which we have admired in so many previous seasons; if there is any change it has possibly gained a little in fullness and strength by a few months’ rest. It is the one voice which has no weak or defective notes, no faulty intonations; which is perfectly homogeneous from one end of the register to the other. Her art is as true and as trusty as her voice, and so she seems to be the most natural of singers because her culture is so thorough and her [illegible] so genuine that nothing which she sings appears to be difficult—and we doubt whether any music is difficult to her. Several times last night she triumphed over Donizetti so completely—in the Song of the Regiment for instance, in the music lesson, and in the finale of the second act (or the first, as the opera was divided last night)—that probably few of the audience understood how admirable her vocalism was. She was very warmly greeted, getting on her first appearance two distinct rounds of applause, and at the end of the opera she was called out with general enthusiasm.

The new tenor, Mr. Tom Karl, made his debut as Tonio. There can be no doubt of his success. He is young, good looking, and prepossessing in manner. His voice is light, but by no means weak. It lacks the sensuous quality of the best Italian tenors, but it is a clear, bright, and withal rather sweet voice, singularly even, firm, true, and lending itself readily to pathetic strains. All Mr. Karl’s training and practice have been in Italy and he has formed himself in the real Italian school. His intonation is consequently excellent, and his singing always smooth and expressive. At the beginning of the evening he was a little nervous, but, under the influence of a favorable reception and an encore in the first act, his embarrassment soon wore off and before the curtain fell he had established an excellent understanding with his audience. An air which he interpolated in the last act (‘Sweet Dream of Love’) was admirably sung, and was [illegible] re-demanded.

Of the other artists, Mr. and Mrs. Aynsley Cook and Mr. Ellis Ryse, there has not yet been sufficient opportunity to form an opinion. Mr. Cook, the baritone, made an excellent impression, for he has a good strong rotund voice, and acts with spirit. He had not much share in the music, except in the concerted pieces, and in the ‘Rataplan’ duet, but all that he did was thoroughly satisfactory. His wife had still less to sing, and Mr. Ryse, the basso, had nothing at all. Both acted, however, with zeal, and the lady with excellent effect. Mr. Rosa conducted the orchestra with his usual good taste and [efficiency?]. There are some new faces in the chorus, and the costumes...” [final two lines illegible]

“The English opera season has commenced with Donizetti’s ‘Daughter of the Regiment.’ This work is full of bright, salient melodies and military choruses made sharp and decided with the rhythm of drums. It is not without its share also of sentimental song for the lovers, and humorous music for the comic characters.

It was admirably performed. Madame Parepa Rosa’s voice is as fresh and charming as ever. It cannot be said that the character of ‘the Daughter’ is entirely fitted to her. The vivandiere was undoubtedly drawn by Donizetti as a winsome little body, just large enough to be the pet of the regiment; and as it is on the best authority announced to be impossible to add a cubit to one’s stature, so it is equally impossible to subtract one. A prima donna cannot be stately and grand for serious opera and festival times, and at the same time petite and graceful for light opera. One of the penalties of greatness is to be great at all times, and whether one wishes it or not. But whatever Madame Rosa lacked in personal characteristics she made good by her comely and pleasant face and hearty manner, and excellent tact as an actress, and of course also by her great artistic abilities.

The opera introduced several new singers, prominent among them Mr. Tom Karl, who has a light tenor voice of very sweet and charming quality and under the best of cultivation. He phrases well, sings with distinctness, and acts with spirit. Mr. Aynsley Cook, who took the part of the old sergeant, is also a capital singer, with a fine, clear voice of very pleasing quality.

The chorus is really a body deserving a special commendation. It greatly outnumbers any recent operatic choruses, within our remembrance, and Mr. Carl Rosa is evidently giving it careful discipline. The effect of the finale of the first act, ‘Il faut partir,’ a very fine piece of writing, was materially aided by the excellent shading of the chorus portion.”

“The promises with which Mr. Carl Rosa opened the season at the Academy of Music have thus far been carefully fulfilled. No fault can reasonably be found with the mounting of the operas, and although we have had nothing new in the way of scenery, yet so tastefully is the stage always set, so bright are the dresses, so large and well-known is the chorus, and so skillfully are the ensembles grouped, that the general effect is both brilliant and novel, and while the ear is gratified, the eye at the same time is entertained. The trifles of stage management are not to be despised; they make all the difference, sometimes, between a dull, heavy, and uninteresting performance and one of those lively and rattling representations in which the defects of individual artists are forgotten in the brightness and vivacity of the whole. Perhaps there would have been fewer failures at the Academy in past years if this truth had always been as well understood as it seems to be now, and as we have reason to hope that it will be hereafter. There has been nothing exceptionally brilliant in the setting of either of the operas thus far given at the Academy; but the general effect of each has been excellent, and the public has been quick to appreciate it. Tuesday, for instance, was an off night, and a rainy one at that; but ‘The Daughter of the Regiment’ was repeated to a large audience, and, if we except a slight hoarseness on the part of the tenor, was no less successful than on the first evening. The orchestra, which contains excellent material, both new and old, even showed improvement, and the same thing may probably be said of the chorus, which would certainly put the old company of shabby German and Italian ruffians to the blush, if those well-seasoned persons could be imagined as blushing at anything.”

“The Parepa-Rosa English Opera Company inaugurated their season of 1871-2 at the Academy of Music on Oct. 2d. The initial performance presented an English version of Donizetti’s ‘Fille du Regiment,’ with a cast embracing M’me. Rosa as Marie; Tom Karl, who made his American debut, as Tonio; Anysley Cook as Sulpice; and Mrs. Cook as the Marchioness; assisted by Ellis Ryse in the role of Hortensio, and Mr. Gustavus Hall as the Corporal. The opera was placed upon the stage with new costumes and stage appointments, and with unusual attention to the excellence of the mise en scene, the improvement manifested in the choral department being especially noteworthy. The attendance was remarkable for its fashionable character, and the presence of an unusually numerous delegation of musical critics, artists and literateurs. M’me. Rosa received quite an ovation as she appeared in the first act, and during the evening was enthusiastically encored, her rendering of the spirited aria, ‘France, I Adore Thee,’ eliciting a loud recall. The new tenor, Mr. Carl, despite a nervousness incident to the circumstances of his appearance, made a most favorable impression, and was loudly encored in the interpolated song. Mr. Cook evinced great dramatic ability as well as vocal powers of more than ordinary merit in his interpretation of the Sergeant, and Mrs. Cook made quite a hit as the Marchioness in the singing lesson scene, in which Madame Rosa’s brilliant powers pf execution were also heard to much advantage. The orchestra was under the baton of that noble maestro Carl Rosa, and the instrumentation was quite a feature of the performance. On Oct. 3d the company repeated the ‘Daughter of the Regiment’ to another crowded assemblage.”

“Mme. Rosa has received so much praise, during the past few years, that it is unnecessary to say anything about her, except that her voice has lost none of its former splendor.”