Strakosch Italian Opera: Mignon

“There can be little doubt but that ‘Mignon,’ as produced at the Academy of Music, has created a most favorable and lasting impression on the brilliant and crowded assemblages that have witnessed its representation. That it will become exceedingly popular, even among those who do not pretend to any extensive knowledge in musical lore, is almost an assured fact. Unlike most operas, it requires but one hearing to render it almost familiar to the ear, and few who have listened to it can fail to remark the delightful effect of the several pleasing yet simple arias and concerted pieces which abound throughout the work. Personated by such an artist as Nilsson, ‘Mignon’ becomes a powerful and enchanting rôle, for there is probably no cantatrice on the lyric stage that could depict its true characteristic features with an equal amount of versatility, pathos and histrionic talent. Altogether, apart from her exquisite vocalization, Mlle. Nilsson’s conception of the sympathetic, grateful and loving Gypsy is simply perfect. Her interpretation of the part in every aspect is something to be remembered; something, indeed, that cannot be forgotten. It is gratifying, moreover, to observe that the opera is presented in such an unwonted manner as to elicit commendation, so far as the surrounding details are concerned. The attendance at the Academy last night showed but little diminution in point of numbers of brilliancy, and the disappointed subscribers of the previous evening forgot the wrongs, real or imaginary, in the general excellence of the performance, which was much smoother than on the three previous occasions. An Italian opera audience is never, by any means, demonstrative, but there were times last evening when genuine, heartfelt approbation rang through the building in unmistakeable form. The first beautiful prayer, which falls to the lot of Mignon, was rendered with great tenderness and simplicity. Then the duet of the swallows, which, by the way, is perfectly enchanting, was sung by Mlle. Nilsson and M. Jamet, who, as Lotario, has made a decided hit, in a manner that elicited the earnest approval of the house. But we have previously commented upon the various details of the opera and the merits of the several artists who have so ably distinguished themselves. Once again did Mlle. Nilsson, in the last act, display her wonderful dramatic powers, and in the beautiful terzet her combined efforts were displayed to the very fullest advantage. M. Jamet in the rôle of the bereaved father has proved himself a fine actor, which, together with his excellent singing, has made him quite a favorite with all the audiences that have witnessed his performances. M. Capoul was, as usual, graceful and fervid, and recited his romances with great skill. In the love passages M. Capoul was very effective, and in the last act he fairly eclipsed the best of his previous efforts. Of Mlle. Duval we have merely to repeat that she sustained the part of the coquettish Felina with great spirit and brilliancy and seems to improve upon each successive representation of the opera. Her execution of the dashing Polonaise merited and won general recognition. Signor Lyall as Laerte did the little that fell to his share with becoming ease, and showed himself worthy of a more pretentious rôle. The chorus was highly creditable, and altogether ‘Mignon’ was presented last night with commendable smoothness and its performance gave evident satisfaction to the discrimating audience that thronged the building.”

“During the few days still left us ‘Mignon’ will probably be the chief attraction. It has taken strong hold upon the popular fancy, and eclipsed for the time the success of ‘Faust.’ Musically it has less depth than Gounod’s work (though the beauties of ‘Faust’ lie pretty near the surface), but we are not surprised at its popularity. It is pretty, it is novel, its dramatic situations are striking, and it offers Mlle. Nilsson one of the most congenial roles she has yet attempted in this city. With a few trifling exceptions it is well cast in other respects also, and it is decently put upon the stage—which is more than can be said of most of the operas produced during the present season.”

“’Mignon’ was given again last evening, and the Academy was crowded as usual with the wealth and fashion of the metropolis. The opera ran more smoothly than before, and Mlle. Nilsson excelled all her previous efforts in her artistic rendering of the title rôle. She sang the lovely aria, ‘Knowest Thou the Land?’ with more than ordinary expression, inspired, doubtless, by the presence of the Grand Duke Alexis and suite and M. and Madame Calacazy, who sat in one of the proscenium boxes on the right. During the fascinating toilet scene, the music of which is idental with a scene from ‘Hamlet,’ she won applause of the most enthusiastic description from the audience, which compelled an encore. The lovely duet of the swallows and the trio in the last act created the highest enthusiasm, which was partly created by Jamet and Capoul in their respective parts of Lotario and Guglielmo. The rôle of Felina is the most brilliant in the opera, and is well suited to the French school of singing of Mlle. Duval. She dresses and acts the part magnificently, and makes a genuine success in it. No one in the audience was more favorably impressed with the performance than Prince Alexis, for he applauded most vigorously during some of the scenes.”

“Among the assemblage was the Grand Duke Alexis who appeared in company with Mr. Bierstadt, at 8 1⁄2 o’clock, and was the guest of Mr. Von Hoffman during the remainder of the evening.”

“Since the dazzling festival of Monday, when the Grand Duke Alexis was fairly caged for three hours at the opera-house, and subjected to the artillery of some thousands of eyes, there have been three performances of ‘Mignon.’ Only this and nothing more. The opera, as we supposed, has taken with our audience, and will be a favorite here. Doubtless the general excellence of its performance has had not a little to do with this. A poor representation to begin with would probably have ruined ‘Mignon’ for New-York forever. But with so divine a heroine as Mlle. Nilsson, aided by support so good as that of Mlle. Duval and Signori Capoul and Jamet, all that is good in Thomas’ opera had a fair chance. The houses have been capital.”