Combination Italian Opera: Rigoletto

“Verdi’s charming opera ‘Rigoletto’ was presented last night to a crowded and brilliant house. The performance on the whole was satisfactory, but by no means such as left nothing to be desired. However, the roles were more in keeping with the capacities of the artists than in most other operas that have been produced by the present management. The cast was distributed as follows [see above]. The remaining characters were so indifferently filled that there is no necessity to notice them. Santley’s rendering of Rigoletto was marked by tenderness, force and passion. His defective acting took something from the effect of his singing, but the charm of his rich, expressive voice caused the audience to forget everything else. Although the support which he received last night was more even than usual, still the chief honors remained with him. The constant strain of melody that runs through this opera gives the fullest play to Santley’s powers. The manner in which he rendered the little chansonette—‘Pieta delle mie pene’—was the revelation of the deepest sorrow, but the song ‘Corteggiami, vil razza danata,’ was the great effort of the night, and earned for the artist an enthusiastic encore. Mme. Parepa-Rosa was in good voice, and though scarcely as spiritual a Gilda as we might desire, acquitted herself satisfactorily. In her rendering of ‘Caro Nome’ she received considerable aid from the judicious accompaniment of the orchestra. The first bars were a little undertain, but the interpretation developed so satisfactorily as to earn a recall. In the scene with Rigoletto after her abduction, where she sings ‘Bello e Fatale Giovane,’ her vocalization was wanting in flexibility. The notes were hard, and there was no trace of the sorrow that would be looked for in a young lady placed in Gilda’s position. Wachtel, as the Duke of Mantua, had an opportunity to display his power of producing high notes, of which he availed himself. We doubt if the manner of singing adopted by this artist can be regarded as altogether legitimate. For ourselves we should like him better if he would abandon altogether those sudden bursts, which, while they reveal great power, do not fail to jar on the ear, and mar the general effect of the melody. There was enough to please in the manner in which he gave the charming song ‘La Donna e Mobile,’ but straining after sensational effects so marred the performance, that, while it might please the ignoble vulgus, it did not fail to be very trying to the critical ear. We have not space to-day to pursue this subject at more length, and will conclude with a short reference to the orchestra. We have already noticed the excellent manner in which it accompanies Mme. Rosa in the ‘Caro Nome’ song, and regret that we cannot credit it with the same judicious support through the piece. On at least two occasions the enthusiasm of the gentlemen with the brass quite drowned the voice of the singers—first at the conclusion of the duet, ‘Si Vendetta,’ and again at the close of the second scene of the third act. The celebrated quartet was rendered with great spirit and received the honor of an encore. Indeed, during the night the audience were unwontedly generous with their applause.”

“Another fine performance of ‘Rigoletto’ at the Academy of Music, last night, crowded the house to that excess which is now customary, and afforded the superb quartet of vocalists who form the feature of the present troupe another excellent opportunity for the display of their powers. As on the previous performance of this work, Mr. Santley’s superb personation of the court jester was the most artistic performance of the evening. Madame Parepa-Rosa filled her part with her usual skill, and Wachtel’s sonorous voice and animated action secured for the ‘Donna e mobile’ and the Bella Figlia the usual encores. Miss Phillips was, of course, satisfactory as Maddalena, and the Sparafucile of Mr. Cook deserves favorable notice.”

“’Rigoletto’ was repeated on Monday evening at the Academy before an audience as large and as well placed as that which witnessed the first performance of this opera.

It is a most symmetrical and admirable representation. Mr. Rosa is making the path of future managers a hard one, for it will from this time forth be impossible for them to palm off upon the public companies that have but one or two good singers, supported by a small chorus and inefficient orchestra. The day for that style of operatic performance has, we trust, passed away for all time.”