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:
21 October 2023

Performance Date(s) and Time(s)

27 Nov 1871, 8:00 PM

Performers and/or Works Performed

1)
Faust
Composer(s): Gounod
Text Author: Barbier, Carré
Participants:  Strakosch Italian Opera Company;  Annie Louise Cary (role: Siebel);  Armand Barré (role: Valentin);  Mme. [mezzo-soprano] Cooney (role: Martha);  Victor Capoul (role: Faust);  Joseph Jamet (role: Mephistopheles);  Christine Nilsson (role: Marguerite)
2)
Russian hymn

Citations

1)
Announcement: New-York Times, 16 November 1871, 4.
2)
Announcement: New York Sun, 25 November 1871, 1.

Pecuniary benefits to be gained by manager Strakosch; offer of fifty free admissions; exhibit of the illustrious Russian; subscription tickets not to be honored, although it is a regular subscription night.

3)
Advertisement: New-York Times, 26 November 1871, 7.

Grand gala opera night; in honor of the visit of His Imperial Highness, the Duke Alexis.

4)
Review: New York Herald, 28 November 1871, 3.

Description of the fashionable assemblage in attendance; Duke’s arrival with accompanying party. “So much has been said in praise of Mlle. Nilsson in her unrivalled role of Marguerite that it is almost superfluous to add a word of commendation. The great cantatrice was in splendid voice, and fairly enraptured the audience by the grand rendition of the arias and concerted pieces which fell to her part. Capoul and Jamet, as Faust and Mephisto respectiverly, acquitted themselves with distinction, and Miss Cary, as Siebel, added to the very favorable impression she has already made. Indeed, the entire opera passed off with unusual smoothness. That its performance was gratifying to the ducal party was evident from the frequent and enthusiastic plaudits that issued from the box. The Duke Alexis seemed deeply interested in the opera from the rising of the curtain until it fell for the last time. The programmes furnished to the Duke and suite were printed on white satin. At the termination of the opera Mlle. Nilsson was called for, and when she finally did appear the Duke applauded heartily, and in acknowledgment the great prima donna bowed toward the proscenium box he occupied. Altogether ‘Faust’ gave decided satisfaction to the entire assemblage. The Duke and suite left by the side entrance to the Academy immediately after the last act and proceeded to the Clarendon Hotel.”

5)
Review: New York Post, 28 November 1871, 2.
“The pleasant flutter of fashion was a prominent feature of the scene offered at the Academy of Music last night. The house was, of course, crowded to excess, the increase in the price of seats not making the slightest difference in the attendance, and by a fortunate instinct everybody came early. It is customary for royal visitors to the theater to come in about the middle of the performance and to leave before its close; but the Prince Alexis was more appreciative of the invitation he had received and accepted, and he was there at the beginning of the performance, and remained till the last note was sung, ardently enjoying the music, and at times leading off in judicious applause. On his appearance in the proscenium box the audience rose to their feet and cheered loudly, while the orchestra played the Russian National Hymn.
 
Three large boxes were appropriated to the use of the Prince and his suite, and were well-filled by the various naval and diplomatic dignitaries, who shone resplendent in gay uniforms quite unknown to American military experience. Several ladies occupied the middle box, and the whole party paid close attention to the opera, though during the entr’actes they were industriously engaged in inspecting the house with their lorgnettes and gaining a favorable impression of the beauty and the toilets of the American ladies. The Prince was, of course, the cynosure of neighboring eyes, and was much admired for his simple, manly bearing and unaffected demeanor.
 
Of Miss Nilsson in ‘Faust’ we have already spoken at length. Her performance last night was fully up to her standard, and in the jewel song it seemed that she gave a greater variety to the two stanzas than ever before. Singers too often make the replica but a mere repetition; Miss Nilsson imparts to it a fresh charm. In the church scene—often omitted—the prima donna gave splendid evidence of dramatic power, and in the last act she was tender and touching. The other parts, taken by Miss Cary, Capoul, Jamet and Barré, were satisfactorily performed.”
6)
Review: New-York Times, 28 November 1871, 4.

“Last night will be long remembered by all who were present at the Academy. The appearance of the house was extremely magnificent. Mr. Strakosch was resolved that there should be no mistake this time about ‘full dress,’ and an intimation that nothing less was expected, or, constructively, would be allowed, was therefore printed on the tickets of admission. The ladies of fashionable society turned out in splendid force, and the toilettes were such as fairly did honor to the Metropolis. We need scarcely state that the presence of the Grand Duke Alexis was the chief incentive for this exceptional display, or that that young nobleman, who, with his suite, occupied a large proscenium box, handsomely decorated with Russian and American flags, on the grand tier, was the centre of admiring attraction. This should be qualified by the remark that it was only thus while Mlle. Nilsson was not on the stage; for, when she was the charming cantatrice fairly absorbed the admiration of the house.

Perhaps ‘Faust’ has never been better sung in New-York than on this occasion. Whether the Grand Duke, or the ‘full dress,’ or the feeling that national pride was in a manner at stake, had most to do with the result, we need not pause to inquire. Doubtless each of these considerations had its effect. At any rate, when combined, the product was hardly to be surpassed. Mlle. Nilsson gained fresh laurels in Marguerite, singing with exquisite tenderness and finish. M. Capoul improved on his previous impassioned interpretation of Faust, and M. Jamet was really admirable in Mephistopheles. In other respects the performance was satisfactory, and the management may congratulate themselves on a success of rare magnitude. The Grand Duke was received by the house with immense cordiality, and the Russian national hymn added to the musical entertainment of the evening.”