Maretzek Italian Opera: La Favorita

“After the numerous articles suggested by performances of ‘La Favorita’ at the Academy, previous to last evening, it is not necessary to dwell upon the details of yesterday’s rehearsal of the same opera. But it would be unjust to the artists and to the management not to mention that the latest recital merited special praise. Mr. Maretzek’s singers have certainly not given a more symmetrical representation than the one enjoyed last night. Mme. Pauline Lucca is to be credited, as usual, not merely with the possession of one of the grandest and most sympathetic voices now to be heard, but with a capacity for identifying herself with the most exacting personages of the repertory, and with a power to communicate her conceptions, unrivalled on the lyric stage. We have rarely been able, however, to compliment any of Mme. Lucca’s associate performers on like grounds, and it is on that account but proper that we allude to Signor Vizzani’s singing last night, and refer to it as having been remarkably fine and effective. Signor Vizzani has done much good work this season, and latterly much hard work, but the results of his severe labors are not likely, from yesterday’s experience, to be regretted. His share of the duet in act the first, his scene with the King—though we would still wish him a little more fire and breadth of gesture—the Spirito gentil, and the highly impressive incidents of the last act, showed him to be not  unworthy of the companionship of Mme. Lucca. The other rôles in ‘La Favorita’ were assumed, as heretofore, by Signor Sparapani and M. Jamet, on whose efforts commendation has always been bestowed. The audience, we have but to add, was large and brilliant.”

“Madame Lucca in the ‘Favorita’ is as great as Nilsson in Ophelia or Adelina Patti in ‘Sonnambula.’ The part affords her wide scope for the display of her dramatic power, and she avails herself brilliantly of it.

Signor Vizzani was in good voice, but cold and indifferent, as he sometimes is. He transposed the spirito gentil half a tone and added a cadenza—which, we think were mistakes. Signori Sparapani and Jamet were good, as they are wont to be.”

“The rôle of Leonora, one of the most dramatic ever written by Donizetti, will be long remembered in this city as the brightest jewel in the artistic diadem of Mme. Pauline Lucca. Akin to “La Traviata’ in its vivid illustration of woman’s wrongs, struggles and heroism; surrounded with music of the most impassioned character, and limned in strong lines of light and shade by a master hand, a sort of musical Rembrandt, the character of Leonora offers many splendid opportunities for the display of such impulsive, wayward genius as that of Mme. Lucca. ‘Ah, mio Fernando!’ (that ultima Thule of aspiring contraltos) becomes a tone poem in her hands, and the last scene, where Leonora dies, a victim of love, recalls memories of Rachel and Ristori. She was in excellent voice last night, and sung with unwonted spirit and élan. A word of praise is due to the Fernando of Vezzani [sic] and the Alfonso of Sparapani, a word of regret for the Balthazar of Jamet, and a great many words of censure for the others—small people, to be sure, but too small, even, for their circumscribed sphere. Chorus and orchestra were held in hand commendably by the chef d’orchestre, Max Maretzek. On Friday evening…The season has been unusually successful, Lent being apparently ignored by the majority of the habitués of the opera.”