Parepa-Rosa English Opera: Maritana

“Side by side with those glorious melodists—not falling humbly in their train, but by their very side—we would place the charming composer whose exquisite strains were heard last night at the Academy of Music. William Vincent Wallace possessed the essential gift of melody, without which all musical knowledge, all technical science is but as dust in the balance. To this heavenly attribute he added a high degree of true musical culture. No one will deny that in facility and variety of orchestration he was the superior of Balfe, to whom he has so often been compared, while in melodic fluency he was certainly his equal. As a composer of operas and piano-forte music, Wallace was the prince of all the musicians who ever lived on American soil. With the melodies of ‘Maritana’ still ringing in the ear after the performance of last night, when the pure soprano of Van Zandt, the rich alto of Zelda Seguin, the sweet tenor of Castle and the sturdy bass of Campbell interpreted the master’s work, it seems an honor to our city that Wallace found in it a home. Let his memory be gratefully remembered by all true music-lovers. His delightful compositions deserve this meed of gratitude. It is too often that noble music is listened to without a thought of the composer, all attention being absorbed by the voice or style of the performer; and this is much as if Dante’s name should be unknown, and Carey or Longfellow receive all the credit for the thoughts of the Italian poet.”

“The music of poor Wallace keeps the ear of the people, and there is that about some of it which prompts regret, whenever it is heard, that the composer was not spared to do something higher and better. ‘Maritana,’ which was worthily sung last night at the Academy, contains not a few of these passages—passages which reveal the capacity for a loftier development and a wider and grander culture. It is but a short time since we had the opportunity to write with approval of Mrs. Van Zandt’s embodiment of the heroine of this work. She sang and acted last night with more breadth and spirit than before—perhaps in a measure because more certain of the sympathy and liking of her audience—and was warmly encouraged throughout the evening. Mrs. Seguin is the tenderest and archest of Lazarillos, and her best songs, as heretofore, were heartily applauded and repeated. All the dash and soldierly nonchalance he is capable of are thrown into Don Caesar by Mr. Castle, and his ‘Let Me like a Soldier Fall’ is one of the most effective, if not the most meritorious of his performances. Mr. Campbell is about as well suited, histrionically, in Don José as in anything, and sings the part to the great satisfaction of his public. His ‘In Happy Moments’ was sung twice, in obedience to an unmistakable encore. Mr. Seguin diversifies, with much acceptable humor, a part that few could make as acceptable. Chorus and orchestra were prompt and vigorous last night, and the opera went off with uncommon spirit.”