Articles, announcements, and advertisements on the forthcoming Strakosch Opera Season

“We announced yesterday for the second time Mr. Theodore Thomas’s intention of establishing a permanent opera company in this city, a piece of musical news which has not yet appeared in the columns of any of our city contemporaries. The scheme is not one to be carried out in a day, however, and the announcement just made public by the Messrs. Strakosch reminds us that for a number of years the opera-goers of this city must depend for this class of entertainment upon companies organized for service during a single season.

We are glad to see that the Strakosch brothers have undertaken to provide for the musical wants of our citizens during the coming season with generous promises, whose execution will not fail to make all the opera nights of the coming winter pleasant, and some of them remarkable. The presentation of Verdi’s ‘Aida’ in this city, which, through the enterprise of the management, is likely to occur in advance of its production in London and Paris, and of Wagner’s ‘Lohengrin,’ with parts of which Thomas’s orchestra has already made us acquainted, are in themselves sufficient to make the season a memorable one.

The company contains some old friends: Christine Nilsson (to follow the bill in the use of her maiden name), Annie Louise Cary and Victor Capoul, while the new members come with the highest recommendations. The leading tenor, Campanini, will be listened to with unusual interest because of the long uncertainty with which European critics regarded his efforts, and their tardy recognition of his genius.

The promises of opera managers are always golden; but it is only fair to add that the Strakosch brothers are not pinching in their expenditures of money when properly supported by the public. The interference is obvious.”

“Without any injurious reflection upon the efforts that have in previous years been made for presenting a high standard of Italian opera to the people of New-York, we shall be fully justified in congratulating ourselves on the prospect of the approaching season. The Academy of Music will open on the 29th of this month with one of the strongest companies that have yet appeared on this side of the Atlantic. The aims of Messrs. Maurice and Max Strakosch have been directed to procuring the means of raising Italian opera here fully to a level with the perfection it has reached in Europe, and if any judgment can be formed beforehand from the engagements they have been able to effect, we may look forward to a complete attainment of their object.

We have now grown accustomed to the visits of celebrated artists from the Old World. They have come to us, attracted hither by various influences, and they have never gone away with a feeling that their efforts or their talents were not appreciated by the American people. But, although New-York audiences have in this way had opportunities to hear the most elaborate works rendered by the first artists which the age has produced, and, although they have invariably shown the delicacy of their critical faculty in pronouncing upon the performance of these works, it cannot be said that they have had Italian opera put before them in a manner which it deserved. The difficulties that presented themselves have been very great. That they were not before altogether overcome is not to be attributed as a fault to any one person; that they are now in a fair way of being conquered must be a source of gratification to all who can appreciate the highest forms of art.

If the intentions of the Directors are carried out, the coming season will be marked by the production of some of the best works of Gounod, Meyerbeer, Mozart, Donizetti, Thomas, Verdi, Flotow, Rossini, Bellini, and Wagner; comprising many old favorites with some works that are less familiar. Among the latter, one especially, the ‘Aida’ of Verdi, is noteworthy. This is regarded by many as the masterpiece of this popular composer; so, at least, it has been declared in Italy, and Americans will be called upon to produce a second judgement upon it; for it has not yet been presented in either London or Paris. The fact that the Directors have undertaken this is in itself evidence of the strength of the company, and of their resolution to work up to the highest development of operatic production. The judgment of New-York audiences has been invariably just and appreciative in the treatment of individual artists, and it is now to be called upon for a decision which must, in a great degree, stamp a work upon which the composer himself has placed a very high value. This involves on the part of the Directors a careful attention to the several details which are necessary to present a work fairly to the public, and with that we shall expected improvement in stage effect and all the other accessories that are essential to success, and without which justice could not be done to a company such as that whose names are now published. Hitherto these matters have not received the attention that they ought to have had, but the day of mediocrity even in these is passed, and we confidently look to the coming season to open an entirely new era in the history of Italian opera in America.”

“In securing the service of the distinguished artists whose names will be found below, the Messrs. Strakosch hold themselves doubly fortunate in the engagement, not only of performers whose position in art has been consecrated by previous triumphs in this country, but of singers new to America, whose recent debut has shown them to be possessed of rare culture, as well as of gifts now at their freshest. During the recess the directors have personally devoted much time and discrimination to the assembling of some of the most distinguished artists of the European Continent, whose acknowledged merits are such as to warrant a belief that they will deserve and receive a cordial greeting to the United States.

An examination of the subjoined list will indicate that the material at hand really constitutes two distinct companies, either of which would be creditable to any opera house in Europe or America. The Directors, referring to this fact, beg to submit that, these arrangements mark a new era in the annals of opera in this country, as they will allow the simultaneous presentation, in all completeness, of standard works, while preparing for the production of novelties.

[Offers brief reflections on Nilsson, Torriani, Capoul, Maurel, Del Puente, Nannetti, Maresi, Cary, and Campiani.]

The enumeration of the artists engage by the directors for the coming season at the New York Academy of Music exhibits a combination of vocal and dramatic forces not surpassed by the resources of any of the European opera houses, although these are encouraged and supported by large Royal and Municipal subsidies. It is also to be remembered that artists demand and receive much higher salaries in America than they obtain in Europe, and that all expenses are larger…

The chorus for the coming season has been numerically strengthened, and is now composed of members specifically selected from the houses of Europe, and reinforced by a careful draught from the best material at hand. The orchestra has undergone some important changes, and, it is expected, will be found to surpass that of any other lyric establishment in America.” Lists operas to be performed.

“That flutter is in the amusement air which presages a musical and dramatic storm. The final engagements have been made by managers, the last contracts have been signed, the ultimate proposals have been made and acceded to or rejected, as the case may be, the advertisements have been printed, the placards are ubiquitous, the libretti are publishing, and through the early September lull steal the stir and rustle of a long-expected emotion. Let us try to believe that the impresarii who appear to us have been unwontedly industrious during the summer of which the golden bowl has just been broken. To pique public taste and then to satisfy it are not such easy feats as may at first appear. Each of the gentlemen who during the pending season intend offering a strong attraction has had experience which should qualify him for the task. It is not for us to compare the relative risks that predict triumph for this one and failure for that. All that we are concerned with is whether the attraction in each case is as strong as the claim put forward by the manager represent it to be. In one or two instances the decision to impose no burden; in the remainder it is not so easy. It requires little discernment, for example to foretell that an artist who was greatly and deservedly popular here a season or two ago and who has had every opportunity since of perfecting her method and deepening her culture, will resume her old sway the moment she steps before an audience not one of whom forgets her. This is Mme. Nilsson’s prerogative. We all remember the charm of her first season among us, the enchantment of her second. Her concert season in the United States was but a stay to public appetite, bidding it content itself awhile until the full operatic repast was spread. We all remember what were those fascinations which secured her an exceptional rank as a lyric artist—the purity which lifted a rôle like Violetta beyond its voluptuous level, and preserved to one like Mignon the artlessness and intensity native to its temperament. It was natural to expect that the vicissitudes of years, by enriching the experience of the artist, would provide her with more valuable material for those sub-creative processes which an original individualization may be said to employ. It was inevitable that those who admired her intelligently should look forward to the time when the creative powers of her genius should have acquired stronger impulses and exercise themselves upon a wider variety of themes. That time has now arrived. The more passionate experiences of a mature womanhood, when used to serve a well-defined artistic purpose, never fail to give additional strength and decision to the vague virginal touch. The outlines of the artist’s impersonations are at once more delicate, more distinct, less capable of being mistaken; the inspiration takes exacter shape, flowing into a more perfect mould [sic], and the deeper personal experiences of the woman lend a richer and subtler poetic color to a gradually widening circle of ideals.

Work commensurate with these expectations is what the public has a right to ask of Mme. Nilsson; and if a corresponding advance is offered by M. Capoul, and if Signor Campanini justifies the reputation which two seasons in London have conferred upon him, the season of the Messrs. Strakosch at the Academy of Music can scarcely fail to rank among the most memorable in America. The hour has not yet arrived for establishing any comparison between the engagements secured for the Academy and those made for the Grand Opera House. Of the nature and extent of Mme. Lucca’s accomplishments the public has too recently had an opportunity of judging for more than a remark to be necessary on that head. Probably there will be as much interest in going to hear a singer who, like Signor Tamberlik, is nearing the end of his career, as one, who, like Lucca, has only lately crossed the bright, precarious threshold. We do not know that any who are familiar with Tamberlik’s present capability as an artist believe that they have any cause to regret the lateness of his visit, other than that it is pleasant to have enjoyed genius in the flower of its youth, and to have accompanied it in its progress toward mellowness.” Article continues with notes on the forthcoming Salvini dramatic season.

“Mme. Christine Nilsson-Rouzeaud arrived at this port, by the steam-ship Cuba, yesterday morning. Mme. Nilsson—for it is thus she is still to be named in her public life—was accompanied by her husband, and by two domestics. She proceeded at once from the stammer to the Clarendon Hotel, where she will remain during the season.”

Elsewhere in the same column: “Among the passengers by the Europe are signor Italo Campanini, MM. Maurel and Capoul, Signor Del Puente, Signor Nannetti, and Signorine Maresi and Torriani. All these artists are members Mr. Strakosch’s Italian Opera Troupe, to appear at the Academy on Sept. 29.”

An enormous article that begins with reflections on the prima donna lifestyle and an overview of Nilsson’s first New York engagement. The bulk is an interview between a Herald reporter and Nilsson, covering the topics of her recent Russian tour, her impression of American audiences, a bear attack, and her future career plans.

Brief passages of note: “American audiences (Mme. Nilsson thought) have all the solidity of the English and all the enthusiastic feeling of the Russians without the outward expression of it. They kept their feelings more to themselves, but those feelings were all there. When questioned with respect to the fatigue of responding forty-five times in the course of a single evening to the calls of the audience [which is claimed in an earlier paragraph to have happened to her in Russia], Mme. Nilsson naively relied, ‘Oh yes! it is very fatiguing—but I like it!’ Who ever heard of a prima donna getting tired of genuine applause?...

With regard to the question of her final retirement from the stage it is not difficult to conjecture that Mme. Nilsson’s mind is in that state of uncertainty which is sure to give rise to contradictory rumors. Retiring from America is one thing; retiring from the operatic stage is quite another. But retirement for a while from both (she says) is pretty certain, as she needs rest. She declares that she can never bring herself to formally say ‘goodby’ [sic] to America. That would be too painful; it would be unstringing her too much. She feels the immediate and warm endorsement this country gave to her, and declares that she would have returned hither had all the managers in the world tried to hold her back. The question of Cæsarism or no Cæsarism was one which never occurred to her in thinking of this generous country; she remembered it only as the land that had been good to her and to art through her, and that was quite enough to make memory affectionate and tenacious…”

“Both American art and American taste have grown so rapidly in the last few years that foreign artists who come to us must be of the best to prove acceptable. We are no longer content with a tithe of operatic promises in their fulfilment. When a great singer or a great tragedian comes from the Old to carry away the plaudits of the New World he must bring us something besides a great European reputation. Mario had come to be a tradition among us, through his achievements with Grisi at the Academy, nearly a quarter of a century ago, but when he returned last season to exhibit the wreck of his remarkable gifts his coming was as painful to us as to him. What kindness we showed him was the kindness of remembrance. Those who come to us this season can expect no such indulgence, and we are not aware that any of them look for plaudits except those that are well earned. They come to us as artists, and must be judged from the art standard. We might except Miss Nilsson from this rule, in so far as it relates to forestalling an opinion, for we know her powers too well to hesitate concerning them. Of the artists who are to support her we have heard nothing but commendation, and we are led to expect that the best ensemble yet seen at the Academy of Music. The Herald has always vigorously opposed the star system in opera, and consequently it is a pleasure to look forward to a season which promises something better than a company composed of only one artist.

But Miss Nilsson is, after all, exceptionally great, and she cannot fail to repeat her triumphs of two years ago. Her merits as an artist are universally admitted and admired, and her voice has never for a moment been impaired. When she went from us before it was to gain greater triumphs in St. Petersburg, where she shared the honors with Mme. Adelina Patti. Her successes and her adventures she makes the topic of a very pleasant conversation with a Herald writer this morning, telling us something of the winter she spent in the bleak capitals of Russia, and revealing just perceptibly enough to make it piquant the joy of the artistic life. After her present season it is not impossible that she may rest from the severe labors of the last few years, but in any event neither she nor her admirers are likely to forget that America shared in her earliest triumphs. Miss Nilsson has done much toward the growth of musical taste in this city, and as the leading prima donna of the year, in a season when the honors are to be hotly contested by other artists, she is likely to place the American public under still greater obligations. In another fortnight her stately presence will be seen and her superb voice heard in her highly idealized creation of Marguerite, in ‘Faust,’ and it is hardly too much to expect that her reception will be an ovation. With such an artist and such support as we are led to expect the season at the Academy must be something that will exceed in brilliancy all the others which preceded it… [Goes on about the dramatic actor Salvini.]

In all this there is, indeed, promise of a great operatic and dramatic season—a season exceeding in brilliancy the earlier expectations that were formed of it. Only what is claimed to be greatest in Italian and European art is offered us; but even of this we want to judge for ourselves and compare it with American art. The lyric and operatic stage of this country is vastly benefited by the presence of the really great artists of the Old World, and we shall be the better able to vie with Europe in music and the drama by bringing among us what Europeans regard as the best they possess and setting it side by side with what is the legitimate growth of our own city.”

A long article previewing the troupe and planned season, but quite difficult to read owing to a black bar running down the left-hand side of the column. It closes: “In thus laying before our readers the plans of the two Italian companies [the other being Maretzek’s] which are to compete for public favor here, we simply state what the managers intend doing. Operatic managers, we are aware, do not always keep the ‘word of promise to the ear’ and very often ‘break it to the hope.’ The law of the Medes and Persians, which changeth not, does not necessarily prevail in the lyric realm. But the two managers are experienced and able, and present two armies of singers of undoubted prowess. We can be certain that the best operas of the standard repertory will find satisfactory interpretation; and if we are favored with fresh ones—if Apollo vouchsafes some new chords from his lyre—they will be doubly welcome.

Mr. Strakosch will conduct his season under the subscription system so long in vogue at the Academy of Music. Mr. Maretzek will appeal directly to the general public, dispensing with the usual subscriptions. As a general thing, the prices of admission will be fully up to the high standard introduced on the occasion of Nilsson’s first visit; but we trust that there will be suitable accommodations for those music lovers with whom opulence is not a prevailing characteristic. This very large and appreciative class of the musical public has not, of late, received from managers the attention it deserves.”