Combination Italian Opera: Rigoletto

For Don Giovanni.

“Yesterday’s matinée was rather trying on the artistes of the Parepa-Rosa troupe after the severe effort of the preceding night. As might have been expected, there were traces of weariness in the representation. But in spite of this ‘Rigoletto,’ Verdi’s charming opera, was rendered in a satisfactory manner. Perhaps no other opera in the manager’s repertoire is so well calculated to display to its fullest the great lyric power of this company; and, after all, it is this class of music that appeals most widely to the people. ‘Rigoletto’ will, therefore, continue to be largely patronized as long as it is presented. The story is intensely dramatic, and were it not that it has been so skillfully relieved by the introduction of the lighter and more charming emotions the influence of the tragic ending would be too lugubrious to bear. There is a subtle melody running through the score, which breaks out even in the most passionate passages, revealing the deep sentiment that underlies and gives them intensity. The cast yesterday was the same as on previous representations [see above]. Santley’s musical interpretations of the role of Rigoletto will remain a life-long remembrance to those who have had the happiness to hear him. It requires rare judgment to preserve the just balance in the delineation of parental love and a father’s anger at the outrage committed against his child’s honor. To say that Santley succeeds in interpreting truly the tender love of the buffoon for his child, so that our hearts are moved by the deep, full notes that overflow with the sweetest melody, and that he transfixes us with the force and intensity of his passion, is only according to him justice. The bravura passage, in the fierce outburst of passion, ‘Si Vendetta, tremenda Vendetta,’ was given with all the intense vindictiveness of a man driven mad by the remembrance of his wrongs. In the concerted pieces the correctness of his vocalization and perfect command of which this artist has over his voice was especially manifest. Madame Rosa, though her voice was wanting in freshness and gave constant evidence of fatigue, sang very effectively. The duet with the Duke in the garden was perhaps wanting in that passionful tenderness of feeling which of right belongs to it; but her vocalization was remarkably pure and brilliant, especially in the arietta, ‘Addio, speranzo ed anima.’ She threw more feeling into the delightful melody, ‘Caro Nome,’ than on any other occasion, giving the cadenza passages in a remarkably finished manner. It is impossible to listen to Wachtel without regretting that one so gifted by nature is not willing to do more to improve himself by art. Of the strength and richness of his voice there can be no question, and the revelations of feeling and even of tenderness that at rare intervals are developed, prove that only a rigid discipline is wanted to make Wachtel the most delightful of tenors. The garden duet yesterday was certainly an improvement on former representations, but was far from satisfying us on the important point of feeling. The singing was remarkably good—excellent, indeed, if we only look for a brilliant execution. Wachtel, by one of his tours de force, produced a nota attaccata which in point of sensational effect was most telling, but to produce it the feeling and expression of the cantabile ‘Ora che accedene’ was sacrificed. ‘La donna e mobile’ was sung in the same style, and though we were pleased by the power of execution displayed, the resulting feeling was far from satisfactory. Miss Phillips was quite out of voice, owing, no doubt, to efforts on the previous night. The celebrated quartet in the third act was so delightfully rendered that the enthusiasm of a remarkably cool audience was awakened and a repetition insisted on. Wachtel’s singing of ‘Bella figlia dell’amore’ left nothing to be desired but that he would always sing in the same style. His rendering was simply delightful. The instrumentation of the orchestra was good, but at the close of the vendetta duet the brass almost drowned the singers’ voices. There is evidently a desire to remedy this evil, and we don’t see why it should be allowed to occur a second time.”

“There was a splendid matinée at the Academy of Music on Saturday, the ‘Rigoletto’ being repeated with excellent effect. Santley again made a marked artistic success, and Madame Rosa sang with delicacy and taste.”