Strakosch Italian Opera: Ernani

“Grand chorus of 60. Grand orchestra of 50.”

“Grand chorus of 60. Grand orchestra of 50.”

Brief. “…another performance of ‘Ernani,’ an opera which this season has had almost a ‘run.’ As at the previous representations of the work, the singing of Maurel was the prominent attraction, though Torriani shared with the accomplished baritone in the general favor extended to the performance.”

“The performance of ‘Ernani’ by Signor Campanini, M. Maurel, Signor Nannetti, and Mlle. Torriani—a performance which has twice had attention this season—was repeated at the Academy of Music, last evening. Symmetrical as almost all of the representations of Mr. Strakosch’s company have been, the recital of ‘Ernani’ has been conspicuous for its completeness. Its attractiveness, too, has been enhanced by a personation of uncommon excellence, that of Carlo Quinto, for which M. Maurel has already received due credit; and, in brief, it will be remembered, unless we are much mistaken, long after the pretentious ‘combination entertainments’ of past years are forgotten. Yesterday’s rendering of ‘Ernani’ was not marked by any notable incident. Signor Campanini’s sweet and flexible voice was responsive alike to the demands of solos and concerted pieces, and in the duet in the second act, in the finale of the third—which was heard twice, as heretofore—and in the closing scenes of the opera it elicited a great deal of applause. The consummate art of M. Maurel, shown in the nuances with which he interpreted the music assigned to Carlo Quinto, afforded the wonted gratification to the most appreciative part of the audience, while the impression produced by the beauty of his tones, and the pictorial elegance of his stage presence, was not confined to the connoisseur only. The tender grace of M. Maurel’s lines (‘Meco vieni’) to Elvira was once more admired, and the baritone, as usual, bore off the honors of act the third. Signor Nannetti portrayed Silva with considerable pathos. As Elvira, Mlle. Torriani used with skill and effect her fresh and pleasant voice.”

“Verdi’s highly dramatic work drew a large house to the Academy last night, being the occasion of its last representation this season. The most notable feature in the cast was, as before, the Carlo Quinto of Maurel, a most finished, artistic and effective impersonation of a difficult rôle. Nothing could exceed the majesty and effect of the address of the King to the shade of his great ancestor, ‘O sommo Carlo,’ which ushers in at the conclusion of the third act the grand ensemble, ‘A Carlo Quinto sia gloria ed onor.’ This, with the celebrated quintet in the first act, gave a very favorable idea of the completeness of the ensemble of the Strakosch company. Mlle. Torriani made a stronger impression than before in the rôle of Elvira, and Campanini added to his laurels by a fine, spirited rendering of the music of the title rôle. Nannetti was a grave, stately old hidalgo, and represented Don Ruy Gomez de Silva with all the dignity due to such a rôle. The chorus was admirable, and if Signor Muzio would only moderate the exuberance of his orchestra and not permit his German musicians to drown the voices of soloists and chorus, nothing would have been left unfinished in the representation.”