Combination Italian Opera: Martha

“The performance of ‘Martha’ last night was remarkable first for the unusually beautiful singing of Madame Parepa-Rosa, and secondly for the delightful vocalism of Mr. Santley. Though Mr. Wachtel’s Lionel was enthusiastically applauded, abounding as it did in tours de force and lofty flights above the score, it must be admitted that the tenor was not in good voice. He was very often flat, and his share in the various quartets was not remarkable for neatness. In the ‘Solo profugo’ duet, however, the general effect was excellent, and the piece was redemanded. If Wachtel was somewhat below his own standard, Madame Rosa was equally above hers. The part of Lady Henrietta has always been a favorite one with her, and we have repeatedly praised the vivacity and grace with which she performed it. We have only to add to these general commendations that last night her voice seemed to be more than commonly pure and sweet, and her delivery exquisite. No one ever sings ‘The Last Rose of Summer’ with delicious refinement of phrasing and such simplicity of style. She makes of it the last specimen of clean, true, honest sentimental ballad singing that can be heard on any stage in America. She was well seconded by Miss Phillipps, though the role of Nancy is not one in which the popular American contralto shows her finest qualities. Mr. Santley, however, was almost faultless. He gave a new coloring to the Porter song, just as he did three weeks ago to the ‘Il balen,’ and in the last act he restored the recitative and aria, ‘Povero Lionello,’ written by Flotow for Sig. [illegible], but always omitted in this country. Why so charming a morceau should be dropped from the opera we are at a loss to imagine. It is quite original in form, with a pleasing harp accompaniment. Mr. Santley makes it one of his best songs, and it was rapturously received last night and redemanded. The chorus and orchestra were [illegible] as usual, but the performance as a whole was bright and agreeable.”

“Mme. Parepa-Rosa, Miss Phillips, Herr Wachtel, and Mr. Santley appeared at the Academy of Music, last evening, in ‘Martha.’ The opera has been done so often of late years by most of the artists engaged in its performance yesterday, that a lengthened review of its recital, did the space at our disposal allow us to make one, would not enlighten greatly the habitual reader. Mme. Parepa-Rosa has very recently been applauded as Lady Henrietta—in the English version, be it understood;--Miss Phillips’ personation of Nancy is well remembered for its artistic excellences; and Herr Wachtel sang Lionello at the Stadt Theatre, and to general acceptance, not many months ago. All these performers produced the wonted agreeable impression last night, and Mr. Santley, who, for the first time, came forth as Plunkett, delighted the audience with his exquisite singing. An almost continuous accompaniment of applause was supplied to the interpretation of the score. A few of the numbers were, of course, particularly effective. ‘Solo profugo’ to which the voices of Herr Wachtel and Mr. Santley gave an unusual beauty, was repeated; the quartets in the fair scene and cottage scene were listened to with unmistakable gratification; Mme. Rosa’s delivery of ‘Qui sola, vergin rosa’ was followed by the familiar tokens of approval; the eloquent bars of the succeeding duet, ‘Ah! ride,’ were redemanded, and ‘esser meato’ by Miss Phillips; Plunkett’s drinking song; ‘M’Appari,’ and Mr. Santley’s ‘Povero Lionello,’ a pretty little air intended for execution at the outset of the last act, but rarely part of the representation, were each rendered twice in acknowledgment of imperative encores. The stage setting of ‘Martha’ is to be warmly commended. As shown under Mr. Rosa’s administration, the fair scene is a model of picturesqueness and animation.”

“In ‘Martha,’ last night, the Parepa-Rosa troupe delighted a very large audience, though the opera is not the one best suited to their style. In that, the powerful strident voices of Madame Rosa and Herr Wachtel require greater music. For them, as well as for Santley and Miss Phillipps, really grand opera is the most effective.

Yet the thousands of listeners last night seemed quite pleased with the pretty melodies of Flotow, and awarded the usual encore to the ‘Last Rose of Summer.’”

“’Martha,’ Flotow’s sparkling opera, was presented at the Academy last night, and, though the performance secured the constant applause of the audience, we are inclined to think the selection of this opera for presentation was a mistake on the part of the management. The character of the music is not calculated to bring out the best points of any of the artists, and the few occasions on which they have a chance to display their powers are not sufficient to invest the performance with any very absorbing interest; last night it dragged visibly. We had formed no very high expectations in regard to Wachtel’s Lionello—the part is evidently unsuited to his bravura style of execution—but even we were disappointed. Of course at moments he was effective and brilliant. With a voice such as he possesses he cannot well avoid being so sometimes, were it only by accident. But in spite of these undoubtedly brilliant passages his rendering of the rôle was unsatisfactory. He made his chief effort in the aria, ‘M’appari, tutt’amor,’ and, regarded simply as a piece of vocalization, it was simply wonderful in the clearness and fullness of the notes poured forth. The timbre of Wachtel’s voice is unrivalled; but though it possesses great flexibility, even in the higher notes, he seems incapable of expressing tenderness. In the rendering of the stronger passions his robusto style of singing makes him unapproachable, and it is very evident that he is never likely to achieve much success in any others. Santley sang well in the small part of Plunkett, but it was not possible to do much with it. His rendering of the canzone ‘Chi me dira’ was delightful, and secured him a warm encore. Madame Parepa-Rosa can hardly be regarded as an ideal Lady Enrichetta. Her voice gives evidence of the overstrain which her constant singing puts upon it. This was especially remarkable in the opening trio and the celebrated spinning wheel quartet, but she put forth all her power in the lovely Irish air which Flotow stole to embellish his opera. She sang ‘The Last Rose of Summer’ with great brilliancy and much feeling, and was rewarded by an enthusiastic recall. Miss Phillips sang in the part of Nancy, a rôle quite unsuited to her voice. The concerted pieces which abound in this opera were poorly rendered, the celebrated ‘Spinning Quartet’ being a complete failure. The only chorus which was given with striking effect was in ‘Ah che à voi perdoni iddio,’ in the finale of the third act. We hope this opera will not be repeated. It is really an injustice to the artists and to the public. There are so many other operas in which the best qualities of the combination can be displayed, and as the time of departure draws so near that the company should be careful to appear only in their best. The orchestral accompaniments were marked by a judicious execution.”

“Yesterday the Academy was well filled by a fashionable and appreciative audience. ‘Martha’ was selected for representation, without any change in the distribution of the rôles. During the performance an amount of enthusiasm was exhibited quite unusual with the correct and somewhat frigid people who mostly attend matinées. As is usual with the very critical public the robusto efforts were applauded to the echo, while the quieter and more artistically rendered passages were passed over without notice.”