Event Information

Venue(s):
Robinson Hall

Record Information

Status:
Published

Last Updated:
2 June 2024

Performance Date(s) and Time(s)

23 Apr 1872, Evening

Performers and/or Works Performed

2)
aka potpourri
Composer(s): Donizetti
3)
Composer(s): Bellini
4)
aka potpourri
Composer(s): Verdi

Citations

1)
Announcement: New York Post, 22 April 1872, 2.
2)
Review: New-York Times, 24 April 1872, 5.

“Mme. Murio-Celli’s third annual operatic concert was given at Robinson’s Hall, in East Sixteenth-street, last evening. The last act of ‘Norma’ and the first and third acts of ‘La Traviata’ were recited by Messrs. Boy, Gottschalk and Weinlich, by Miss L. Seton and by Mrs. Sels. Mr. Gottschalk’s personation of King Alphonso, in Donizetti’s opera, was the most conspicuous performance. Mr. Gottschalk has an excellent baritone voice, sympathetic in quality and very flexible, and the gentleman already manages it with an effectiveness which promises that good results will attend well-directed studies.”

3)
Review: New York Post, 24 April 1872, 2.

“The pupils of Madame Murio Celli gave last night, at the Bijou Theatre in Sixteenth street, a very pleasant amateur performance of Italian opera. The programme included parts of the first and last acts of ‘Norma,’ in which Miss Seton, Miss Siegrist, Mr. Boy and Mr. Weinlich sang, aided by a professional chorus. The performance was creditable to all concerned. The first parts of the second and third acts of ‘Favorita’ were then given with Madame de Sels as Leonora, Mr. Boy as Fernando, and Mr. Gottschalk as Alfonso. The lady shows culture and skill. Her low notes and the higher ones are excellent, while the middle register is uneven, but she sang so well as to closely approach a high professional standard. Mr. Gottschalk has a very charming baritone voice, smooth and melodious throughout, and he uses it with taste. He sang delightfully last night and was warmly encored in the A tanto amor, one of the most tender of the many sweet melodies which we owe to Donizettti. Mr. Weinlich was the Baltasar, and Miss Siegrist’s limpid voice made a most pleasing impression in the few graceful bars of solo allotted to Inez. Signor Boy in both operas sang like a professional artist. 

Madamde Murio Celli herself conducted the performance with grace, aiding it at critical moments with her vocal ability. Mr. Carozzi with a grand piano did the duty of an orchestra, playing the accompaniments with precision and good effect. He is a townsman of Donizetti’s, and has a reverential admiration and proper appreciation of the master’s works.”