Strakosch Italian Opera: Il Trovatore

Complete cast listing.

 Barré to sing the role of Di Luna, because of the continuing indisposition of Signor Bartolini.

“If anything further was required to show that the New York public were hungry for opera a crowded house in the middle of Lent with the poor old ‘Trovatore’ on the bills would be a sufficient answer. The oldest habitués were astonished last night at this unwonted spectacle, and declared New York to be the most wonderful place on earth for opera. The Leonora of Nilsson is a sufficient attraction in itself at all times to draw a crowded house and to call forth enthusiasm of the most unqualified kind, although the music is better suited for a voice of broader dramatic power, and makes demands which might be considered beyond the particular line of art in which Mlle. Nilsson excels. But her matchless vocalism and great talents as an actress invest the rôle with a spirit and vitality such as one would think would be impossible at this late day. Brignoli, who first introduced the unfortunate Manrico to American ears, was in excellent voice last night, and recalled his old triumphs in this rôle. Of the various well-known numbers of the part we may name ‘Deserto sulla terra’ and ‘Ah! che la morte’ as deserving of the highest praise. Miss Cary sang the music of Azucena very charmingly, but the high dramatic character of the rôle is evidently beyond her reach. The duet between her and Brignoli in the second act was unaccountably left out. M. Barré is a pleasing singer, but his small, French baritone voice is utterly inadequate to fulfill the exigencies of the rôle of Di Luna.”

“Signor Verdi was lately called thirty times before the curtain on the first hearing of his ‘Aida’ at La Scala. The critics dwell on the magnitude of the compliment, which could scarcely have been greater had his audience kept the lucky composer before the footlights during the entire performance. Yet even such incense to genius is surpassed by the strange passion for Verdi’s most threadbare, most shallow, and most noisy operas in this country. The Academy was literally packed last night to hear ‘Il Trovatore.’ No matter how often this work is sung, no matter for Lent, no matter for weak artists in all but one or two parts, it would appear that, for the New-York public, age cannot wither nor custom stale this everlasting Troubadour’s infinite variety.

Mlle. Nilsson is a divine Leonora. It is a rare and gracious pleasure to find a singer who can look and act, as well as sing the romantic heroines of the lyric drama. Of course, animadverting upon the popular rage for ‘Il Trovatore,’ we do not forget how far it is condoned by the peerless attraction of the prima donna. Still, it is scant justice to the artist herself, no less than to the public, that her bright and versatile genius should be cramped into the old hackneyed grooves, and have no chance for those original and inspiring flights of which we know it to be capable. Mlle. Nilsson sang last night with characteristic taste and finish. She may not be, in every respect, as amply equipped for the hautes dames of the lyric stage, as for its Mignons, its Alices, or its Ophelias. But there is a propriety and a clearness of appreciation in all the work that Mlle. Nilsson puts her hand to, which in Leonora are strongly and instinctively manifested, and her superb vocalization was wedded last night with artistic symmetry to a noble display of passionate dramatic feeling.

The cast of ‘Il Trovatore’ in all respects save one leading part, was the same as the last operatic season. Signor Brignoli’s Manrico is well known here, and has been long admired. The veteran tenor succeeded on this latest essay in making very much his usual impression. His helmut was balanced on the tip of his nose in the style familiar to the audience, and gave its wearer his customary trouble in its adjustment. Signor Brignoli gave some of his music in a fashion somewhat perfunctory, but perhaps we ought to commend his caution as judicious, and we ought certainly to praise some of his singing as undeniably fine. The cantabile passages, the execution and smoothness in the half-voice are still as sweet and as thorough as ever; and it is satisfactory to see that Signor Brignoli retains his hold on the affections of the audience. Our public are sometimes accused—we will not pause to inquire with what justice—of growing cold to artists the moment the bloom and freshness of youth are passed, and hence the gratification of recording an example to the contrary. Of M. Barre we have often spoken with merited praise. He is a sound, well-poised artist, both as singer and actor. His version of our old, melodramatic friend, the Conte di Luna, does not lack good proof of these qualities. His is not altogether the voice, or altogether the method, that best please us in the part. His voice lacks timbré, and his acting lacks passion. But if M. Barre has been excelled here in a few instances, in his picture of the mysterious and truculent noble, he is so much better than the majority of his predecessors as to be heard and seen in it to obvious advantage.

We have taken previous opportunities to do justice to Miss Cary’s clever performance of the uncanny Azucena. It will suffice if we add to former encomiums the opinion that the lady has mellowed and enlarged her first conception so that it is now realized in a most creditable and indeed striking manner. The chorus and orchestra last night were much as usual, and the concerted pieces, both as regards voices and instruments, rather better. Although there were a few cuts of the choicer portions, no conceivable noise which the score allows was omitted. The ‘Anvil Chorus’ and other hideous dins, whereof ‘Il Trovatore’ boasts so rich a store, were received with customary delight; and there were several demands from the house to see the chief artists before the curtain.”

“Miss Nilsson and Brignoli were both in fine voice and spirits last night, and the performance of ‘Il Trovatore,’ so far as they were concerned, was a brilliant one. It is not in such characters as Leonora that the prima donna shows her real strength; for Verdi’s heroine is a woman of rather common mold and vulgar musical passion—a ranter, so to speak, though her rant does rise at times to the eloquence of true feeling. Still Miss Nilsson enters into the spirit of the part, and makes it no more conventional perhaps than it must be. Her voice is not of the sensuous, glowing and vigorous quality we look for in Leonora; but in many of the softer airs its pure and graceful tones have excellent opportunities for display, while her action is at all times in full keeping with the requirements of the melodramatic libretto. Mr. Brignoli’s best efforts were in the Tower scene and the favorite aria just preceding the ‘Di quella pira.’ This latter famous show piece, however, was a trifle tame, for Mr. Brignoli takes care of himself. Miss Cary, the Azucena, was careful and pleasing, as she almost always is. The Di Luna of Mr. Barré, who replaced Bartolini, was weak and uncertain.”