New-Yorker Stadt-Theater Opera: Il Trovatore

“There can be no question that Herr Wachtel is much better suited with the music of ‘Trovatore’ than of any other opera in which he has yet appeared in New-York. Even the boast of the programme that he is the best living representative of Manrico does not seem to be much of an exaggeration when one has heard his superb delivery of the ‘Di quella pira,’ or the quieter but still passionate and brilliant Tower scene. After the former, in which he twice introduced his ringing high C, with an ease that is almost marvelous, the house last night ‘rose at him,’ and he was three times called before the curtain. The best of the supporting artists was Miss Perl, whose Azucena was a good piece of acting and a creditable musical effort also. Of Miss Rosetti’s Leonora and the Di Luna of Herr Vierling we can only say that they were conscientious and laborious interpretations, upon which the audience bestowed a generous applause. The crush of spectators was immense. The doors were besieged as early as 6 o’clock in the evening.”

“Wachtel, the tenor, has achieved one of the most pronounced successes that has hitherto marked the career of any operatic artist in this city. His audiences have not diminished, and the same furore of enthusiasm greets his every appearance as hailed his initial performance. At first the exuberance of demonstration seemed to be due to a national feeling upon the part of his countrymen, but as his performances progressed a large American element permeated the audiences, and in enthusiastic demonstration they seemed to far surpass the Teutonic element. This was accomplished by the undeniable presence of rare talent, combining a phenomenal voice under high culture, and great histrionic ability. Had he not become a great tenor, he would undoubtedly have become a great actor. At the age of some fifty-five years, with his powers in apparently full vigor, he comes to a new hemisphere unheralded, and achieves a success which fully equals, if it does not surpass, that accorded him in the old world. During the past week he sang [lists roles for the week]. On Wednesday evening, notwithstanding the violent storm, long before the opening of the doors a vast assemblage blocked the street in the vicinity of the theatre, and at the rising of the curtain the auditorium of the Stadt Theatre was filled in every part, persons standing in the aisles and lobbies. Although not in quite as good voice as usual, owing, no doubt, to the high temperature which prevailed in the auditorium, the evening being quite sultry for the season, still his performance of the role of Manrico is deserving of the highest praise. He sang the opening serenade charmingly. In the rendering of the aria, ‘Di Quella Pira,’ at the close of the third act, he achieved his greatest success of the evening, striking the ut de poitrine apparently with the greatest ease and giving it a full, clear, chest tone. The audience seemed wild with delight, cheers and bravos rent the air; hands and feet were almost frantically exercised until he re-appeared and repeated the performance, singing this time in Italian—the language in which the opera was written— which greatly enhanced its effect. At its conclusion, a storm of applause potent as at first greeted him, nor did it subside till he had some five or six times re-appeared before the curtain to bow his acknowledgments. The ‘Miserere’ in the last act was most effectively rendered. With the exception of Miss Clara Perl, whose acting of Azucena was artistic and whose rendition of the music was deserving of high praise, there was nothing in the cast worth particular mention, although the other artists labored conscientiously.”