Strakosch Italian Opera: Martha

Complete cast listing.

 For Il Trovatore

 Il Trovatore postponed until Friday, because of the indisposition of Bartolini.

“Another crowded, brilliant and fashionable house greeted the second night of the farewell season of Mlle. Nilsson, the opera being the bright, popular and sparkling work of Flotow, presented with the well-known cast, Mlle. Nilsson, Miss Cary, M. Capoul and M. Jamet. It seems as if the principal artists of the company were determined that their last notes, like those of the swan, should be the sweetest, for they sang with more than ordinary spirit and expression last night. The genius of the prima donna appeared to exercise a magnetic influence over the company as well as the audience, and therefore the performance of ‘Martha’ was eminently satisfactory. Capoul and Jamet gave the duet, ‘Solo Profugo,’ in the first act unusual expression and effect, and the former brought down the house by his exquisite rendering of ‘M’Appari.’ The rollicking, drinking song of Plunkett was sung with inimical drollery by Jamet, who has proved himself this season an artist of real merit. Miss Cary infused more vivacity and spirit into the rôle of Nancy than was the case last winter. But the star of the evening, before whose effulgence all lesser luminaries pale, was the Swedish Nightingale. We have spoken at length before regarding her inimitable impersonation of Lady Henrietta, and need only add that it will be long ere the habitués of the Academy will hear again ‘The Last Rose of Summer’ sung with such heartfelt tenderness and expression. The chorus was slovenly, as usual, and the wonderful Richmond Fair scene, with its Swiss village and view of Mont Blanc and its corps de ballet of three, in tarlatan skirts, excited much attention. Then the remarkable announcement in the programme that the music of ‘Martha’ was by Ambroise Thomas formed a theme for discussion.” 

“The Strakosch troupe gave last night a bright and sparkling performance of ‘Martha,’ in which Nilsson, Cary, Capoul and Jamet all appeared to excellent advantage. ‘The Last Rose of Summer’ excited the usual enthusiasm, and Capoul in his arias made an excellent impression. This opera has been so often given with the same cast that extended analysis of it is unnecessary.”

“M. Strakosch’s artists last evening interpreted ‘Martha’ at the Academy, the intended performance of ‘Il Trovatore’ being deferred in consequence of the indisposition of Signor Bartolini. Flotow’s opera has long been noted for its popularity, and last night’s audience and their decision showed that its reputation, in this respect, was still merited. The details of the recital need not, however, detain us long. When ‘Martha’ was sung by the same performers at the outset of the Winter season, considerable space was devoted to a review of the excellence of the representation. It was then said that although Lady Henrietta cannot have the prominence of most heroines of the lyric drama, the charm of Miss Nilsson’s presence, the vivacity of her acting and the beauties of her singing, rendered her impersonations of the capricious noblewoman at all points superior to that supplied by her numerous predecessors. The opinion was then expressed, too, that Lionello was the role to which M. Capoul, by temperament and culture, was best suited; that the effect of M. Jamet’s fine voice and finished delivery could not be improved upon in the part of Plunkett, and that Miss Cary was a most acceptable Nancy. We have only to say, at present, that the opinions printed already in this place would bear rehearsal in respect of yesterday’s entertainment. Great applause was bestowed in turn upon the quartet in the fair-scene, upon the two quartetts in the second act, upon the exquisite recital of ‘the last Rose of Summer’ at the same stage of proceedings; upon Miss Cary’s air at the outset of act the second; upon M. Capoul’s ‘M’Appari’—of which a repetition was made unavoidable—and upon the superb finale of the third act, the highly dramatic execution of which brought about the recall of all the personages concerned, after the curtain had fallen. The chorus and orchestra did their work with unusual vigor and precision. Nothing, in fine, was wanting.”