Strakosch Italian Opera: Lucia di Lammermoor

“Mlle. Christine Nilsson sang her great rôle of Lucia last night for the last time before an audience somewhat thinner in numbers than usual. She was in excellent voice and spirits, and portrayed the unhappy Bride of Lammermoor with more than ordinary power. Brignoli was the Edgardo, and created as much applause by his singing as on the other night when ‘Il Trovatore’ was on the bills. Barré is a tame, ineffective Ashton, and the rest of the cast do not call for a word of commendation. Mlle. Nilsson will be best remembered in this city by her Traviata and Lucia. The music of ‘Mignon’ is not of a character that will last for any considerable length of time, although the memory of the artist’s impersonation of the delightful creation of Goethe will long remain in the minds of New York opera-goers. But the wonderful creations of Violetta and Lucia—for creations they are, as Nilsson represents them—will ever be cherished as priceless works of art to be hung up in the memories of every opera-goer in America. In the first scene, in which she parts with her lover; in the duet which speaks their passionate farewell, in the tearful remonstrance with her stony-hearted brother, in the terrible scene of the fatal marriage, and particularly in the last scene, when insanity usurps the throne of reason, Nilsson’s Lucia is a grand characterization. Brignoli sings the music of Edgardo most admirably, his pure Italian, silvery voice being specially suited for it.”

“Miss Nilsson and her tuneful companions sometimes complain that New York audiences are cold and unenthusiastic; but they certainly did not suffer this grievance last night, when the applause was prodigious, and the fair prima donna received frequent double calls before the curtain. After the duet with the baritone, in the second act, and after the mad scene, the applause was the most enthusiastic; and through the entire opera the appreciation of the audience was promptly manifested. Miss Nilsson was never in better voice, and never has there been seen here a more charming personation of the tender heroine of Scott and Donizetti. Brignoli sang very sweetly, and Barré gave an average performance of the music allotted to Ashton.”

“Miss Nilsson repeated, at the Academy of Music, last evening, her superb performance of Lucia. Its characteristics have had frequent recapitulation in the Times, and do not need, at present, a review. But it may be said that the qualities of the principal artist, as a songstress and a tragedienne, were never more potent in their effect than when shown during yesterday’s recital. After the second act of the opera, Miss Nilsson was twice called before the curtain, and the usual summons for a reappearance were made whenever the drop was lowered. As throughout the winter season, the lady had the assistance of Signor Brignoli and of M. Barre. It is a great pleasure to listen to the unimpaired sweetness of the tenor’s voice, and it may be recorded, in connection with this testimony to its perennial charm, that last night Signor Brignoli exerted himself in the magnificent finale of act the third to assert his ability as an actor as well as his gifts as a singer, and was quite successful in the effort. M. Barre’s personation was conspicuous, of course, for correctness, rather than for vocal or dramatic impressiveness. The representation was enjoyed by an exceedingly large audience.”