Maretzek Italian Opera: I Due Foscari - Max Maretzek Benefit

“The wonderful success of the new opera, ‘Ione,’ might satisfy the cravings of the most ambitious impresario for popularity; but Maretzek seems determined to rest but a moment on his freshly won laurels. He announces another novelty for Wednesday evening—Verdi’s magnificent composition, ‘I due Foscari.’ The habitues of our Academy of Music have a rare treat before them in the enjoyment of this work. Years ago it was played here by Mme. Bosio and Signors Badiali and Lorini with great success. Now we shall have Medori, with her grand talent; Mazzoleni the favorite and Bellini, whose role will give him a splendid opportunity for display. The mise en scene will be superb on this occasion. In fact, Maretzek has chosen this opera for his benefit, and we may safely predict that it will be a colossal one. He merits this, because he has revived opera for New York in a style which rivals similar undertakings in Europe. At the commencement of the Maretzek grand opera season we were adverse to any advance of prices at the Academy. Maretzek, spite of his enormous expenses kept the prices at the usual figure. It would be no more than a reasonable demand on his part that the occasion of his benefit an increase of prices be made for that night. We hope this suggestion will be accepted by Maretzek. That the public will respond to it we do not doubt, and we sincerely hope that the benefit may prove one indeed.

            But to return to the promised novelty. The plot of the ‘Due Foscari’ was written by Piave, a distinguished Italian poet, who furnished most of Verdi’s librettos. It is taken from one of those gloomy incidents so frequent in the history of the unhappy republic of Venice. We shall notice the historical episode upon which is based the argument of Verdi’s opera.

            On the 15th of April, 1423, Francisco Foscari was elected to the ducal throne of Venice, in preference to the other candidate, Pedro Loredano. The latter became an opponent in the Council of Ten and in the Senate to all measures proposed by the Doge of Venice. Francisco Foscari once in the Senate declared that he could not consider himself really Duke of Venice as long as Loredano lived. By a fatal coincidence, a few months after this declaration Pedro Loredano and his brother Marcos also died suddenly, and to the general belief poisoned. Jacopo Loredano, the surviving son and nephew, at the funeral of his father, spoke the following words:—“The Foscaris owe me two lives.”

            It also happened that Ermalao Donato, the Speaker of the Council of Ten, was assassinated on the night of the 15th of November, 1450, on his return from the Senate, after having voted against the Foscaris. Loredano took hold of this circumstance, and accused Jacopo Foscari, the Duke’s son, of this murder. Jacopo Foscari thus accused, was tortured in the presence of his old father, his wife and children. His protestations of innocence were vain, and, in consequence of circumstantial evidence prepared by Loredano, his own father was obliged by the laws of Venice to pronounce his sentence, which was perpetual exile to the island of Candia. Shortly afterwards a certain Nicholas Erizzo, a noble Venetian, being at the point of death, confessed himself guilty of the very murder for which Jacopo Foscari had been tried, tortured and exiled. The Senate ordered the rehabilitation of the young Foscari, and invited him back; but the victim had died of a broken heart before this message reached Candia. The old father, Duke Foscari, after this event, seldom appeared at the councils. Loredano, not satisfied with the first fruits of his revenged, obtained, through his machinations and intrigues in the Senate, the deposition of the old Duke and the election of his successor. The Duke Foscari, hearing the bells of San Marco announcing the election of a successor to the throne during his lifetime, was so moved that he fell lifeless. At his funeral Loredano spoke these words—“The Foscaris have paid me.”

            This historical occurrence is dramatized by Signor Piave with great skill. He has used, however, poetical licenses in order to create dramatic situations. The introduction of young Foscari’s wife (Lucrezia Contarini) in all the most dramatic scenes is cleverly done. This opera created a furor in Italy.

            The departure of Medori, which takes place next week, will prevent the success which otherwise would attend the production of this opera…

            We repeat that on Wednesday the ‘Due Foscari’ will be given.”

Part of review for final performance of Ione.

            “To-morrow evening Maretzek has his benefit, and produces a novelty—the ‘I Due Foscari’—not sung here for many years. The opera will be put upon the stage in grand style, while the cast is a powerful one, including Madame Medori, Mazzoleni and Bellini. Maretzek deserves, and will no doubt have, an immense house.”

Part of review for final performance of Ione.

“To-morrow is set apart for the benefit of Max Maretzek, when the opera of ‘I Due Foscari’ will be presented for the first time in several years. The rôle of the old Doge will afford Biacchi [sic] the finest opportunity he has yet had for displaying his wonderful method and the resources of his magnificent voice. The occasion is one that every admirer of Italian opera should consider himself bound to celebrate and sustain. Max Maretzek has done, perhaps, more than any man to establish a taste for the highest form of musical art in this country, and this season, especially, he has introduced to us the best company, and produced first-class operas in better style, than has been heard and seen in New-York for a very long while.”

“Mr. Maretzek announces his benefit for this evening. New York will generously respond to this call, we feel assured. The habitues of the Academy of Music are indebted to Maretzek for a season of opera such as is creditable to this great metropolis. His has introduced to us a troupe of artists who are equal to any in Europe, and has given us a series of operatic performances which, from the talent of the artists, the liberality of the mise en scene, and the effectiveness of both choruses and orchestra, were eminently successful. To render this benefit the more attractive, and as a still further proof of his desire to gratify his patrons, Maretzek gives a performance of Verdi’s grand work, ‘I Due Foscari,’ which years ago created so great a a [sic] furor in Italy. It has not been given here since the days of Castle Garden opera.

           The cast is a most powerful one. Madame Medori, as Lucrezia, will be grand. Mazzoleni’s superb voice and admirable acting will render the role of Jacopo Foscari its every attraction, while Bellini, as the Doge, will have a role well adapted to his powers. The music of this opera is, like all of Verdi’s composition [sic], eminently attractive. The plot is of great dramatic interest, affording scope for that excellence in acting which distinguishes the Maretzek troupe. We hope and have no doubt that the occasion will be a most brilliant one.”

“Academy of Music—Benefit of Max Maretzek.—This evening the opera performance at the Academy of Music is for the benefit of Max Maretzek. If ever impresario deserved well [sic] at the hands of the music-loving public it is he. Setting aside his indefatigable, indomitable efforts in by-gone seasons, he has within the past few weeks done enough to entitle him to the most generous measure of commendation and support. He has given us a series of lyric entertainments which, in point of genuine merit, have been far superior to anything of the kind offered to long-suffering New-York audiences for years. Without preliminary puff or subsequent ostentation, he has produced two new operas, and given a variety of old ones, with a perfection of ensemble to which we have long been unaccustomed, and his company, while not comprising any artists of overwhelming European celebrity who have outsung the freshness of their voices, has been one of the best for all practical purposes that has ever appeared at the Academy. For all this the public should prove, if not grateful, at least appreciative. What pleasure the fickle monster has received is owing to the enterprise and energy of Max himself. The obligation is one that should be recognized and repaid, and the most effectual way of doing this will be by leaving no foot of space unoccupied in the Academy to-night. As additional inducements for every opera-goer to be there it should be stated that an opera, almost as good as new here, will be brought out in splendid style and that Madame Medori will make her last appearance in it. Medori is a great artist, whose wonderful voice and method are a revelation to all who have not enjoyed them. The opera is Verdi’s ‘I Due Foscari,’ which has not been given in New-York since its production at Castle Garden in 1850. Though an early work of its composer, it possesses some of his most effective and popular characteristics. Besides Medori, Mazzoleni and Bellini have fine parts in it.”

“Last evening was ‘consecrated’ as the French say, to the benefit of Mr. Maretzek. Some benefits are malefits—audiences being thin, and receipts in the final stage of financial marasmus. But yester-night was substance and not shadow. The weather was rainy and bad; but the audience was as fine and bright as though a Norma new-moon—casta diva—was on duty in the skies. We have seldom seen a better display of nice head-grear [sic] and toilets than were scattered through the house. Distinguished people were present in abundance. The musical play was the Two Foscari—father and son—whose antecedents are well-known as being very unhappy, and therefore fit for a pleasantly sad and stirring drama. The style of the music makes tremendous draughts on the vocal apparatus of the actors, and few singers have the sustained force to render it effective. Those engaged, last night—Madame Medori, M. Mazzolini, and M. Bellini, however, were equal to the task of repeating high notes on a dead stretch. The music has some very fine pieces. A duet, and trio—and a solo for the Doge, are especially notable, and were received with vast applause.

            At the end of one of the acts there was an episode. The scene was the Hall of the Council of Ten—revealed a second time—and after the curtain had fallen upon it. On the official table of the Ten was placed—a tea service of silver—and the Council of Ten and their aiders and abettors, as well as the unfortunate Jacob Foscari, and Mrs. Foscari and the children, were present. Also the chief villain—an aristocrat in a red robe, personated by Signor Coletti. Signor Coletti, laying aside his rascality and Italian, came toward the footlights, at the moment Mr. Maretzek appeared on the stage evidently by strong arguments—fair arms propelling him forward. And M. Coletti said: ‘M. Maretzek, in the name of the operatic company over which you preside, I beg, as a mark of their esteem for you personally, and for your ability and success as a musical director, affectionately to present you with a service of silver plate.’ This was a model speech. It covered the whole ground and was brief as well. M. Coletti should run for Congress. Mr. Maretzek bowed his thanks amid the triple salvos of the great audience upon receiving the elegant offering—which suggests Cooper’s famous lines about cheering and not inebriating.

            The whole operatic evening was a magnificent success.”

“Mr. Maretzek’s benefit, last evening at the Academy of Music, was a real one pecuniarily, and in an artistic sense no less successful. The opera ‘I Due Foscari’ was splendidly given, Medori, Mazzoleni and Bellini being in unusual force. The house was filled in every part by a very brilliant audience, whose more than common attention to the matter of costume made the theatre resplendent with beautiful toilettes. At the end of the second act, after Mr. Maretzek had been called before the curtain and greeted with the most enthusiastic applause of the audience, the company, through Sig. Colletti, presented to him a service of silver.”

“Academy of Music.—Max Maretzek’s benefit on Wednesday evening, was an immense triumph for the man and the manager. The Academy was crowded in every available part with an audience brilliant as beauty and Spring fashions could make it and the musical and other performances incident to the occasion went off with an éclat that has rarely been surpassed in the history of the Italian opera in New-York. ‘I due Foscari’ is not one of Verdi’s most felicitous efforts. It abounds in the instrumental noise and vocal difficulties for which most of his works are celebrated, without, like his later compositions, including a sufficiently redeeming quantity of passionate melody to make it popular. Still there are in it two or three very fine episodes, such for instance as the duet between the soprano and tenor in the second act—sung with splendid dramatic effect by Medori and Mazzoleni—and the Doge’s solo, exceedingly well rendered by Bellini. But, whatever the opera, the house would have been full and the audience enthusiastic, too. Max had deserved well of the public and the public felt constrained to acknowledge the obligation. The singers coincided with the public, and had made preparations to testify their friendly appreciation on the professional capacity any personal good qualities of their director. These preparations they developed into action at the close of the second act, when the ‘indomitable,’ being thrust forward by kindly hands, Signor Colletti made him the neatest of little speeches simultaneously presenting him, on behalf of the company, with a silver tea service. Max responded in eloquent dumb show, and received several avalanches of overwhelming plaudits. Take it altogether, the affair was a highly flattering tribute of admiration and good will. It was a bright spot in Max’s lifetime that he can always look back upon with unalloyed pride and gratification.”

“Max Maretzek had a gay old time on the occasion of his benefit at the Academy, on the 15th inst., when the opera of ‘The Foscari’ was reproduced, the first time in twelve years. Everybody seemed to be in good condition, including refractory tenors, indisposed prime donne, etc. The audience, a large one, was delighted and contented, and Max was the very picture of a happy man; but he was destined to meet with one of those ‘surprises’ we hear so much about; for at the finish of the opera, the curtain rolled up, disclosing the entire company, principals, chorus, attendants and all, and on a table in the centre of the stage a splendid set of silver tea equipage. Immediately, admist continuous and enthusiastic plaudits, entered again Medori, Bellini, Mazzoleni and Coletti, leading in the reluctant, blushing, but yet evidently delighted Max, to whom, in a few fitting words, Coletti, in the name of the members of the company, presented the handsome token of remembrance prepared for his acceptance. Max was ‘apparently overcome,’ but accepted the honors, and the silver, with his usual urbanity. We hope he knows where to get good tea to serve up in the equipage presented to him.”

“The season at the Academy of Music closed last Monday, chiefly on account of Signora Medori being obliged to leave for Europe. We understand, she will return next fall. As far as we could ascertain, the season has been successful. The opera, which drew the greatest crowds, was ‘Norma,’ chiefly owing to the somewhat vehement personification of that character by Signora Medori. For Mr. Maretzeck’s [sic] benefit one of the older operas by Verdi, ‘I due Foscari,’ was revived. In reference to this opera we cannot refrain from quoting the following remarks, made by the critic of ‘The Albion’: ‘This piece was played here many years ago, and has since been shelved. Having been now revived, for a solitary occasion, we trust it will be permitted to return again to slumber. The contest, that it provokes between vocalization and instrumentation, can only be compared to the fight of the ironclads in Charleston harbor. Both sides, to continue the illustration, blazed away with remarkable spirit; but if the crown for noise and perseverance must be awarded anywhere, let it be given to the gentleman who bangs the drum. When the season is ended, he should immediately engaged [sic] by a circus company.’”

Just a mention that it was performed.

“The operas given by the Italian company during the past two weeks, have been Verdi’s noisy ‘I due Foscari’…”