Strakosch Italian Opera: Il trovatore

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:
3 November 2023

Performance Date(s) and Time(s)

26 Dec 1871, 8:00 PM

Performers and/or Works Performed

1)
Trovatore, Il
aka Troubadour
Composer(s): Verdi
Text Author: Cammarano
Participants:  Strakosch Italian Opera Company;  [baritone] Bartolini (role: Count di Luna);  Pasquale Brignoli (role: Manrico);  Christine Nilsson (role: Leonora);  Annie Louise Cary (role: Azucena)

Citations

1)
Advertisement: New-York Times, 24 December 1871, 7.
2)
Review: New York Herald, 27 December 1871, 4.

“’Il Trovatore’ was repeated last night before a crowded and unusually brilliant audience, which was exceedingly enthusiastic in its appreciation of one of the Swedish Nightingale’s best rôles. Nilsson has the rare faculty of presenting an operatic character in a new light that even the hackneyed, threadbare rôle of Leonora becomes actually fresh and full of new interest in her hands. Since the commencement of the present season of opera there have been occasions when, in consequence of the great strain on Miss Nilsson’s powers, the result of having to bear the sole responsibility of the success of the season on her shoulders, her voice betrayed signs of fatigue and hoarseness; but last evening it was bell-like in its clearness, broad and brilliant in its tone, as became an interpreter of Verdi, and full of passion, dramatic fire and the kaleidoscopic sentiment that the heroine of ‘Trovatore’ is accredited with. The cabaletta of ‘Tacea la notte’ was never given with more telling effect, and in the ‘Miserere’ and the prison scene her acting was superb in the extreme. Brignoli made another hit in his well-known rôle of Manrico and sang with his old fire and brilliancy. Miss Cary again appeared as the revengeful gypsy mother and Signor Bartolini as Di Luna.”

3)
Review: New York Post, 27 December 1871, 2.
“The second performance of Verdi’s ever-favorite opera revealed again in Miss Nilsson all those lyric qualities which were manifested in her first assumption of the part. Her performance last night was more even and sustained than on the first night of this opera. In the finale to the second act, where, on that occasion, she was ineffective, compared to other great prima donnas in the part, she last night made some splendid points, and her rendering of the phrase Sai tu dal ciel was in every sense worthy of that original and fascinating bit of music. The cabaletta of the first act Miss Nilsson sings quicker than was done by any of her predecessors, giving it quite a new effect. In the last act, of course, she won her greatest triumphs. In the opening aria, Amor sul ali, with the remarkable interpolated cadenza; in the Miserere; in the duet with the baritone; and in the death-scene she was alike admirable. Her Leonora will take, indeed, a high rank among her many exquisite creations.
 
Brignoli, last night, was the Brignoli of yore. There was in the serenade and the tower song that same ineffable richness of voice which made this tenor such a favorite from the first night he sang this music in New York. Miss Cary also sang most charmingly last night, and acted with spirit, receiving an enthusiastic recall after her scena in the third act. When to this it is added that the baritone, Bartolini, sang better than he has hitherto done here, it will readily be seen that the performance of last night was a highly enjoyable one.”
4)
Review: New-York Times, 27 December 1871, 1.
“The opera at the Academy goes out with the old year. It has been more prosperous than was looked for, and not undeservedly so. There has been, to be sure, less novelty than was expected, but the works given have had unusual justice done them, and the impression left by artists and management is unusually satisfactory. The house gathered last night to hear the ‘Trovatore’ suggested the beginning rather than the end of a season. It was full to overflowing, and the tediously-worn strains of the opera were listened to as though they had been fresh as the dews of morning. We wrote at length on the 14th ult. of the treatment received by the ‘Trovatore’ at the hands of the same artists, and have nothing to add to the encomiums then offered. The performance of last evening was in no respect inferior the first one, and, so far as the plaudits of the audience are to be taken as exponents, the final representation of this opera for the season was the best one. With all respect to the singers and to Signor Verdi, we are happy to know it is the final one; for surely the ‘Trovatore’ has had wearisome repetition in New-York, and it is high time that, for a space, it should be shelved. Those to whom the intimation may be disagreeable may console themselves with the reflection that tonight the ‘Traviata’ is to be sung—also for the last time this season—so that recollection of the numbers of that unfamiliar work may be revived by way of compensation.
 
Mlle. Nilsson acquitted herself charmingly last night in every respect. It is one of many good qualities that recommend this delightful artist that she plays no caprices on her audiences. What she has to do she does with unvarying steadiness and smoothness, sparing herself no labor or closeness of attention to do justice to her art, her public, and herself. Mlle. Nilsson has secured in New-York a position of enviable popularity, and she richly merits all the favor she has received. Signor Brignoli was likewise in fine voice on this occasion, and was often warmly applauded. In the concerted music he was heard to great advantage, and in the favorite solos he never created a more pleasing impression. Signor Bartolini sang less tremulously than he did at times on his first appearance, and Miss Cary gratified the public by a stronger and more dramatic picture of Azucena than we have been accustomed in New-York to see, while her vocal efforts were in most respects all that could be desired. The chorus and orchestra were fairly up to the mark, and the performance was altogether equal to the expectations of many who were attracted to the Academy by glowing reports of the former representation of the same work.”