Strakosch Italian Opera: Il barbiere di Siviglia
Event Information
Venue(s):
Academy of Music
Manager / Director:
Maurice Strakosch
Max Strakosch
Conductor(s):
Max Maretzek
Price: $2; $3 and 4, reserved seat; $1 family circle; $.50 extra, reserved seat; $5 box or front row of balcony
Event Type:
Opera
Record Information
Status:
Published
Last Updated:
13 October 2023
Performance Date(s) and Time(s)
25 Oct 1871, 8:00 PMProgram Details
Marie Leon Duval sang Ricci's "D'una volta Roma" during the music lesson scene.
Performers and/or Works Performed
1)
aka Barber of Seville;
Almaviva, ossia L’inutile precauzione;
Almaviva, or The Useless Precaution
Composer(s): Rossini
Participants: Strakosch Italian Opera Company; Marie Leon Duval (role: Rosina); Victor Capoul (role: Almaviva); Ettore Barili (role: Don Basilio); Domenico Coletti (role: Dr. Bartolo); Giorgio Ronconi (role: Figaro)
Citations
2)
“On entering the Academy of Music last night each person was greeted with the following ominous announcement on the programme or bill of the opera:--
It is with profound regret that the management is compelled to state the Mlle. Christine Nilsson is suffering from a severe cold, and is unable to sing this evening. The following certificate from Dr. Gray speaks for itself:--
Dear Sir—Mlle. Nilsson is suffering from hoarseness, and is unable to sing this evening.
John F. Gray, M. D.
A very dispiriting announcement for the second night of the Italian opera season. Yet it could not be helped, and the elegantly toiletted ladies and swallow-tail-coated gentlemen left their carriages and tripped up the wooden steps on Irving place resigned to the fact— which had previously leaked out—that the Casta Diva of opera could not give her grand impersonation of Marguerite that night. The inclement weather thinned the boxes and circles somewhat, but still there was an intelligent and fashionable audience ready to listen to the immortal work of Rossini, ‘Il Barbiere di Seviglia,’ which was given with the following cast [lists cast]. Mlle. Marie Leon Duval introduced in the music lesson in the second act, valse from ‘D’Una Volta a Roma,’ by Ricci, which was sung for the first time in New York.
Now, to give this opera at present is a bold action on the part of a manager. Again, to present it at Nilsson prices, without Nilsson, argues still greater boldness. Whatever may be the result of such a course of management with the stockholders and subscribers we know not, nor is it our province to inquire. One thing was indubitably proved last night. Mlle. Christine Nilsson is the mainspring of this company. Without her the performance is not calculated to give even satisfaction. Take last night’s opera, for instance. Not even Capoul, who was the best of the entire cast, excited even the faintest enthusiasm. We believe that Mario is the last of the Almavivas, and certainly M. Capoul did not show any particular talent in the rôle by which we could name him as a successor. Miss Duval sang prettily the ‘Una voce poco fa’ admirably; but a tamer Rosina it has never been our province to see or listen to. We expected at least the chic and esprit of the French-woman, but instead we saw only a quiet, tame, uninteresting performance, without, save in some clever points in singing, one brilliant point. Capoul was evidently out of his line and we should be very sorry to state that last night was his regular debut. He was prepared up to three o’clock in the afternoon to sing the rôle of Faust, and musicians and artists will readily understand what it is to be called upon suddenly to assume a comparatively strange part. Therefore we shall reserve criticism on Mr. Capoul until he appears in another rôle. The rest of the cast was simply intolerable. Ronconi’s voice has departed long ago and the others are only fit for chorus singers. In fine, the performance was far beneath what a subscriber would expect this season. It proved one thing, that without Mlle. Nilsson the company cannot command the attention and respect of the opera-going public. When she is on the stage every feeling is absorbed in admiration of her great talents. We have had last evening a specimen of the rest of the company that we trust will never again be given to the New York public. By the way, Miss Duval sang, during the music lesson, a waltz by Ricci, in which she made a more favorable impression than in the rest of the opera. Yet even here she did not give in its entirety the cadenza at the finale that Mlle. Marimon, of Her Majesty’s, sang with such effect. The second time she sang it the orchestra made a terrible mistake in getting completely out of tune. We trust that we shall be able to write more favorably about the third performance of the season.”
3)
“Miss Nilsson’s sudden indisposition having caused the substitution of the ‘Barbiere’ for ‘Faust’ last evening, the audience was rather thin in numbers, and what, with a little natural disappointment and the wretched weather, not at the very boiling-point of enthusiasm. The events of the evening were the respective débuts of Mme. Duval and M. Capoul as Rosina and Almaviva.'
Mme. Duval is prepossessing in appearance, and quiet, easy and humorous in the mischievous fun of the acting. Her vocalization is neat and finished in style, and in the profuse ornament with which composer as well as artists have loaded the score the delicacy and accuracy of her execution gained her hearty approval. Her voice, however, is not of large calibre, and the east winds of our unlucky climate had doubtless some temporary influence in diminishing its force and penetrative power. Her execution of the brilliant, but long and fatiguing, waltz in the singing lesson brought an enthusiastic encore, on which, in spite of her distinct gestures declining the honor and indicating her weariness, a small and indiscreet portion of the public was unkind enough to insist, and the waltz was repeated, but with evident effort. We propose to comment more at length at some future occasion on the points of good taste and courtesy raised by this and similar incidents.
M. Capoul, too, felt the influence of the barometer, and his voice, which is light in quality, but extremely flexible and usually both sonorous and penetrating, showed last night, some weakness in both regards. The taste and discretion of his delivery, however, and the immense fluency of his execution in fioriture went far to atone for any such apparent defect, and his acting is both easy and spirited.
With regard to both these artists, however, we feel that their début was not made under such circumstances as warrants a decided judgment, and prefer to consider any form of comment as purely preliminary.
The easy drollery of Signor Ronconi’s acting in Figaro, as well as his excellent method in vocalization, are too well known to require notice. Signor Coletti as Bartolo, and Signor Barili as Basilio, were acceptable, though rather [more?] humorous than musical.”
4)
“There were a great number of disappointed people last night. ‘Faust’ had been announced, with Mlle. Nilsson in what is by many considered her best rôle, that of Marguerite. In spite of drizzling weather, there was every indication that the house would have been crowded, for Irving Place was fairly backed up with carriages bearing persons to the opera. On the doors of the Academy, however, was posted an ominous bulletin. It was Dr. Gray’s certificate that Nilsson could not sing. The opera had been changed, and the ‘Barber of Seville, with Mlle. Duval, M. Capoul, and Ronconi in the principal characters, was to be given.
The lobby of the Academy was a scene of confusion and consultations. Great numbers exchanged their tickets for another evening and turned back; but the merits of Rossini’s opera, and the fact that Capoul, the new tenor, and Mlle. Duval, the soprano, were to make their first appearance, retained a sufficient number to make a very fair audience.
M. Capoul sang the part of Almaviva very artistically and charmingly. His voice is not a strong one. In fact, it is of almost feminine delicacy; but it is of such a fresh and sweet and pure quality, and he uses it with such discretion and intelligence, that it is a great pleasure to listen to him. There can not be a doubt that he will make a strong position for himself in the public favor. His bearing is that of a true gentleman, and he acts with vivacity, finish, and grace.
Mlle. Duval, the new prima donna, is young and fair, and an excellent singer. Her voice is highly cultivated and of very pleasing quality, and her schooling evidently of the best. Mr. Ronconi’s Barber has been famous for so many years that it is almost unnecessary to speak of it now. It has lost nothing of it humorous quality, and, in spite of inroads that time has made upon his voice, it is doubtful if any rival could be found to give the part more satisfactorily. From the very general feeling of disappointment manifested by the audience, it is clear that the whole interest of the season is to turn on Mlle. Nilsson, and that so long as she is indisposed the opera will make very little headway. She will probably be well enough to sing on Friday evening.”
5)
“The patrons of the Italian opera were forced, last night, to listen to Rossini instead of Gounod, to hear ‘Il Barbiere’ in place of ‘Faust,’ and to accept, as a substitute for Mlle. Nilsson, a new soprano in Mlle. Duval. It was reported during the afternoon that the former lady was hoarse and would be unable to sing, and such proved to be the fact.
That the change was a grave misfortune for the operatic season cannot be denied. Without prejudice to the excellent artists who sang—and the position of Mlle. Duval was fully appreciated and sympathized with as a very disagreeable one—it was felt by the audience to be a sharp disappointment that Mlle. Nilsson should fail to sing, and that on the second night of the season. As the facts of the case were little known, and most of the house subscribers, the attendance at the Academy was notwithstanding very numerous, and the auditorium indeed showed trifling change from its brilliant aspect on opening night. The cast of ‘Il barbiere’ on this occasion included [lists cast]. Mlle. Duval was decidedly successful. She has a rich, well-educated soprano, apparently best in the lower register, and from her first essay in ‘Una voce’ there was little fear of her quickly gaining a hold on public liking. Mlle. Duval is quite handsome, she executes with much facility, and the interpolated valse from ‘D’una Volia Roma,’ by Ricci, in the second act, afforded opportunities for displaying this power almost as good as the music of Rossini himself. The lady was received with great warmth, and we are sure will become a favorite.
M. Capoul is, in several respects, the most finished and elegant tenor we have had here for many a day. Of a different school from that of either of the singers who have lately been most prominent in New-York, ample culture and an obviously refined taste have enriched and developed to undeniable merit Signor Capoul’s fine natural powers. He is gracious rather than robust, tender and chivalrous rather than forceful and declamatory. Sweetness and flexibility, and a method which, if more French than Italian, is almost perfect of its kind, distinguish his vocal efforts from those of most of Signor Capoul’s predecessors here. He is able to execute Rossini’s most florid passages, and his action has the ease that native grace and thorough training alone confer. In brief, while an excellent singer, he is also an excellent actor, and his acceptance by the audience of last night foreshadowed an enduring popularity to come. Most people would doubtless have preferred to hear Signor Capoul in Faust rather than in Almaviva, on his initial effort; still, the change being inevitable, both public and artist are to be congratulated on the result. Signor Ronconi’s Figaro is well known and well appreciated here. As a piece of acting, it leaves nothing to wish, and if the sonority of Signor Ronconi’s voice is not altogether what it once was, the exuberance of his humor is in no whit diminished. The other parts were acceptably filled, and the chorus and orchestra better than they usually are. ‘Faust’ will, as is expected, be brought out next week. We conclude by saying that a physician’s certificate of the illness of Mlle. Nilsson was printed last night on the bills of the house, but that it is hoped the lady’s indisposition will prove of no serious character, and that she will be able to sing in ‘Martha’ on Friday.”
6)
“For the second night Faust was announced, but Miss Nilsson, having taken cold, was unable to sing, and Rossini’s ‘Barber’ was substituted, with Mdle. Leon Duval –from the Théatre Lyrique in Paris—as Rosina. This lady could hardly have appeared under more unfavorable circumstances—as there had been no time for rehearsal, and the audience—cold enough at all times—was rendered morose by the non-appearance of Nilsson.
With all these disadvantages I have to record, for Mdle. Duval, a success which, were it not for some minor defects in her acting, would be unqualified. Her voice is a rich, clear mezzo soprano, perfectly trained, and of such quality that it is a luxury to listen to her. In saying this I merely repeat the judgment that has been already pronounced in London and Paris. That of our own daily press is less favorable—but that must be taken for what it is worth. Capoul, as Almaviva, was the same insouciant gallant whom I remember at the Opera Comique in Paris. The same light, thin voice—and the same detestable trick (?) of running into falsetto. His light love-making is admirable; but in high tragedy he makes an unpleasant impression by seeming (as has been aptly said) to think more of his hair than anything else [footnote that the DJM editor disagrees with this assessment]. However, as there is no high tragedy in the ‘Barber,’ he did very well. Sig. Ronconi acted the part of Figaro with an irresistible comicality which is rarely equaled.”