Benefit of the French Benevolence Society

“The performance last night at the Academy of Music in aid of the French Benevolent Society was a genuine artistic success; and, although the attendance might have been more numerous, there was sufficient evidence to show that the very charitable object in view was substantially recognized. Donizetti’s popular production, ‘La Fille du Regiment’ was given in French, the leading artists being Mlle. Leon Duval, Mons. Capoul and Mons. Jamet. In the leading rôle of Marie, the young vivandiere, Mlle. Duval eclipsed all her previous efforts, and displayed to the fullest advantage her decided merit as a sparkling comedienne, eliciting throughout the warmest approbation from an audience that heartily appreciated all the little pleasing peculiarities of the French school, of which the lady is a fair representative. Her earnest and artistic rendering of the famous ‘Vive la France’ was enthusiastically encored. M. Capoul was quite at home in the character of Tonio, which he personated with becoming grace and spirit, and imparted to it a refreshing energy rarely infused by the majority of artists who assume the part. Old Sergeant Surplice had a capital representative in Mr. Jamet, and what little there was to be done he performed like a finished actor. La Marquise de Berkenfield was sustained by Mme. Anna Cave [Cary], Hortensius being entrusted to the veteran Paul Juignet, who acquitted himself in a creditable manner. The opera was, altogether, satisfactorily presented. Mlles. Castellan and De Try subsequently performed a fine duet, for violin and violoncello, by Servais and Vieuxtemps, which elicited much applause. They also played a duet on the same instruments by Beethoven. M. Barré sang the air ‘Du Nouve in Seigneur,’ and also took part in a duet with M. Capoul from ‘La Reine du Chypre.’ The polonaise from ‘Mignon’ was rendered by Mlle. Duval with characteristic spirit and precision. The performance was brought to a close with the fourth act of ‘La Favorita,’ in which Signor Brignoli and Miss Cary appeared as Fernando and Leonora respectively. It is almost unnecessary to add that this great tenor succeeded in creating a decided impression. Brignoli was in splendid voice, and his glorious rendering of the famous ‘Spirito Gentil’ fairly took the house by storm, calling to mind the days of the great and gifted artists, who are now few and far between. Miss Cary was also very successful in her essay of the rôle she partly presented.”

Review: New-York Times, 08 December 1871, 5.

“The performance given at the Academy of Music, last evening, in aid of the Société Française de Bienfaisance, passed off very smoothly, and to the delight of an exceedingly large audience. The programme included a recital of ‘The Daughter of the Regiment’—the original version—and of the fourth act of ‘La Favorita,’ and a brief concert took place between the two operas. None of the frequenters of the Academy will be surprised to learn that M. Capoul is the ideal Tonio, a character whose portraiture requires a capital actor, as well as an accomplished singer. With the known pieces of the composition, ‘La Fille du Régiment,’ as performed on the French stage, combines considerable dialogue, the intelligent delivery of which is of vital importance to the general effect of the composition. M. Capoul did full justice to this part of his work, and while his singing can be commended for its usual correctness, elegance of phrasing, and expressiveness, his acting must be mentioned as worthy of an excellent light comedian. The romance in the last act was, of course, M. Capoul’s most effective piece, and was sung with all the fervor and finish of his better known and far more important numbers in ‘Martha’ and ‘Faust.’ Mlle. Duval also proved herself an intelligent and vivacious comedienne, and the specially impressive music of her rôle, as she executed it, was much applauded. We cannot say that Mlle. Duval’s impersonation will rank with M. Capoul’s, but her opportunities to fascinate not too critical assemblages were so much more numerous than the tenor’s that her success was even clearer. From her first air, ‘Chacun le sait,’ until the close of the opera, Mlle. Duval had liberal encouragement. The Sergent Sulpice of the evening was M. Jamet, whose efforts can once more be cited as conscientious and satisfying in no ordinary degree. M. Juignet afforded genuine amusement as Hortensius. The Marchioness was the only personage who needed a more skilled representative. In the concert which followed, MM. Capoul and Barré, and Mlle. Duval sang, and Mlles. Castellan and De Try played a duet for violin and violoncello. In the fourth act of ‘La Favorita,’ Signor Brignoli and Miss Cary were the artists.”