Strakosch Italian Opera: Faust

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:
17 October 2023

Performance Date(s) and Time(s)

06 Nov 1871, 8:00 PM
11 Nov 1871, 1:30 PM

Performers and/or Works Performed

1)
Composer(s): Gounod
Text Author: Barbier, Carré
Participants:  Strakosch Italian Opera Company;  Annie Louise Cary (role: Siebel);  Armand BarrĂ© (role: Valentin);  Mme. [mezzo-soprano] Cooney (role: Martha);  Victor Capoul (role: Faust);  Joseph Jamet (role: Mephistopheles);  Christine Nilsson (role: Marguerite)

Citations

1)
Advertisement: New-York Times, 05 November 1871, 7.
2)
Review: New York Herald, 07 November 1871, 7.
“Nilsson repeated her greatest rôle, Marguerite, in ‘Faust,’ last night, before an immense audience, at the Academy. We have already spoken of this wondrous impersonation, and need only say now that she added a fresh wreath to the laurels she gained on Wednesday last. It is in characters of this kind that the genius of the Swedish nightingale shines forth, and we are of opinion that she should entirely avoid such light, sparkling rôles as Martha, Zerlina and others of that class, as they do not permit her to display that extraordinary command of passion and pathos that she possesses to such an eminent degree. Of the other artists in the cast Miss Cary, and especially M. Jamet are deserving of high praise. The latter was the Mephisto of the true kind—a satiric, mocking devil, whose very tones and actions were eminently satanic.”
3)
Review: New-York Daily Tribune, 08 November 1871, 2.

“The performance of ‘Faust’ on Monday night [illegible] surpasses last previous performance of Mr. Strakosch’s season. Miss Nilsson [illegible] in the church scene tragic power [illegible] terrible, and [illegible] the other portions of the opera she was at least as admirable [illegible] that work. Her voice, too, was fuller, richer, and [illegible] even than usual. The other artists were [illegible] and all the spirit of the occasion, so that barring the customary diffiencies of the chorus, the performance passed off with remarkable smoothness. ‘Faust’ [illegible] great to any repetitions before the public grow tired of, but [illegible] shocking landscape which does duty or the Kermesse, for [illegible] and [illegible] suburbs of Seville, for the [illegible] and the Mississippi of those [illegible] Wachtel at the opera), be thrust into our face every night this Winter? Have the directors of the Academy of Music no money for a much-abused public?”

4)
Review: New York Post, 15 November 1871, 2.

“A word about the Saturday matinees. These entertainments are attended by many persons from out of town, by ladies without convenient cavaliers, music-lovers blessed with a greater depth of appreciation than of purse, and many others who have artistically as well-grounded claims to consideration as the more showy audiences of the evening representations. It is a trifle chilling to such auditors that in the afternoon performances there should be a slight tone of carelessness, haste or undue economy of financial or vocal resource. Why, for instance, should the fine church scene in ‘Faust,’ one of the dramatic gems of the work, be cut out at the matinées? It is within our knowledge that sundry tasteful people, professors of music and others, whom to please is honor, had saved and calculated to give themselves an infrequent luxury in hearing Miss Nilsson last Saturday, and were seriously disappointed at missing an important part of their pleasure. Doubtless the management had valid reasons for this apparently unseasonable bit of economy, but their best friends will unite in begging them to use their best efforts to reconcile, on such occasions, all necessary exigencies with liberality and even-handed justice.”