Strakosch Italian Opera: Faust

“’Faust’ seems to have taken the strongest hold of the New York public. Last night was its fourth representation in this city, and we may truly say its best. The Marguerite of Nilsson has been already described in these columns; but volumes might be written on this matchless impersonation without the necessity of repetition in any feature. Her maidenly reserve on being accosted in the Kermesse by Faust, her childish joy on beholding the jewels, her passionate love for the young cavalier that ensnared her soul, her feeling of stupefaction when the full realization of the weight of misery brought upon her after the death of her brother, her wild appeal to Heaven in the memorable church scene, and the sublimity of her death make up a picture of betrayed innocence and womanly love such as has seldom been presented on any stage, musical or dramatic. If Nilsson had not played another rôle in this country but Marguerite she should be received as the first living prima donna on the operatic stage; for it is a difficult and subtle rôle, and can only be appreciated and impersonated by a great genius. M. Victor Capoul made quite a hit last night in the title rôle. Frequent impersonations of the character have given himan ease and command of the rôle that were not perceptible at the first representation of the opera, and his rendering of ‘Salve dimora’ and ‘Dammi ancor’ was well worthy of the applause it evoked. M. Jamet’s Mephistopheles is the most startling picture of satanic power that our boards have ever been accustomed to. The other features in the opera have been already alluded to at former representations.”