Maretzek Italian Opera: Gli Ugonotti

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“Mme. Pauline Lucca appeared in ‘Gli Ugonotti,’ at the Academy of Music, last evening, and by a performance as remarkable in a vocal as in a dramatic sense, added a fresh victory to the record of triumphs achieved since her début in the United States. None of Mme. Lucca’s personations has been more impressive than that of the daughter of St. Bris, whose portrayal she essayed for the first time in this country yesterday. Like all Mme. Lucca’s characters, her Valentina is more conspicuous for its consistency and symmetry than for its points. On an appreciative audience its effect, we need not say, is no slighter on that account, while the passion and power of the incidents and music are, at times, apparent enough to elicit applause from less sensitive and critical listeners, who prefer being startled to experiencing the enduring emotion derived from the forcible and complete effort of a great artist. Mme. Lucca, who has long been held in Europe an unequaled Valentina, must have known, by her success last night, that she has, in the eyes of the American public, no rival in the part. As implied above, her picture of the heroine was eloquent alike for those who thought and for those who felt. The shapeliness of the conception, realized as only an actress and songstress possessed of Mme. Lucca’s resources and talent can realize it, was clear, of course, at the close of a recital for an adequate review of which more space than is left us would be required. As for its salient features, these may be referred to in brief, as including every stage of the opera whereat the action or the notes afford the performer the most slender opportunity for asserting her genius and art. Though ‘Gli Ugonotti’ is not often done in this city, the most prominent of these portions of the opera are sufficiently well known to need but a mention, when it is intended to advert to the principal moments of a rehearsal, of which the interest is centered upon the prima donna. Mme. Lucca sang with infinite expression the fine preface to the duet with Marcello, wherein she narrates her discovery of the plot by which the life of Raoul is menaced; and the long duet with her lover’s faithful follower; and her brief scene with Margarita di Valois, when she is led to the boat by Nevers, supplied as definite proof of her merits as an actress and as the more trying events following. But she surpassed herself in the scene at the outset of the fourth act, when, as a witness of the conspiracy, her dumb show fairly filled the stage; and her great duo with Raoul, to which all the succeeding pages of the score form an anti-climax, placed in the strongest light the sensibility, experience, and physical strength of the tragedienne, and the sympathetic quality and strength of the voice of the singer. Mme. Lucca was thrice summoned before the curtain at the termination of the tableau. Owing to the late hour at which the entertainment was ended, a detailed allusion to the efforts of the other artists concerned in ‘Gli Ugonotti’ must be deferred. The opera, we see, will be repeated on Friday, and, doubtless, much warmer commendation of some of Mr. Maretzek’s performers may, on the morrow of that evening, be awarded. We cannot, however, withhold a word of compliment for Signor Vizzani, whose Raoul was surprisingly good; another word of praise for M. Jamet’s Marcello; and an admission that Mme. Levielli’s Margarita was creditable in point of vocalism to that painstaking lady. The indisposition of Señorita Sanz caused the assignment of the contralto part to Miss Doria, who omitted ‘No, no, no,’ and was scarcely at ease in the remainder of the music of Urbano. The orchestra was unusually proficient; the chorus, save in the delivery of ‘Rataplan,’ reasonably steady and unanimous. The audience was numerous.”

“The production of ‘The Huguenots’ at the Academy last evening was the occasion of another brilliant triumph for Madame Lucca, whose voice was as full and clear as ever, and whose acting manifested the ready manysidedness of her dramatic character. More than usual attention had been paid by the management to the scenic effects, and three or four of the set scenes were highly successful, while the costumes were rich and historically correct. The orchestral performance was careful and conscientious, and not a weak or defective passage occurred from the beginning to the end of the score. The chorus, though numerous and well-appointed, was not equal to the exactions of the composer. In the famous ‘Rataplan’ the male choristers at first went wild and got hopelessly out of time; but in the repetition of it did better, and brought down the applause of the house. The little support that Madame Lucca received, we may say, came from an unexpected quarter; not from M. Jamet, who did not make a satisfactory Marcel, but from Madame Lavielli, who sang and acted Marguerite de Valois with an accuracy and spirit, and once or twice excited something like enthusiasm. Of Signor Vizzani’s Raoul it can only be said that it was as good as with his voice he could have made it, but one should never have heard Mario in Raoul to accept it patiently. And so we come back to Madame Lucca, who was magnificent throughout, and who, if we cannot say that she surpasses any Valentina known to the lyric stage, is certainly so rapt in her inspirations, so full of tragic passion, so perfect in the expression of the music, giving to it all its varied meanings of exaltation and tenderness, that we can ask for nothing finer, nay, nor imagine it. In the duo with Raoul, at the close of the fourth act, she produced an immense effect, and the spell of her glorious voice lingered for a time after the curtain had descended, as the splendor lingers in the western sky after the sun has disappeared.”

“The production of ‘Les Huguenots’ in this city, no matter under what circumstances, is always interesting, not only to the average opera-goer, but also to the cultured musician. In this opera we have the highest form of lyric art ever attained by a very extraordinary opera writer. An eminent critic has said of Meyerbeer, ‘He unites the enamel of Italian sunshine to the light graces of France and the vaulted earnestness of Germany. Calculation is his private secretary, surprise his messenger, orchestral effect his advocate, and he places dramatic point behind the scenes. Unlike Gluck, he does not place empty chairs for Iphigenia and Orestes, formally personating their existence to himself; he arranges a whole row of chairs for the great public and on them seats a cosmopolitan audience.’ Meyerbeer has under all circumstances sacrificed the stern purpose of lyric art, and as Richard Wagner would have it, to the tricks of mere passing effect. Had Meyerbeer chosen to write with the moral earnestness of Wagner, where would ‘Les Huguenots’ stand, and where ‘Lohengrin?’ The production of this opera, which is accredited to the chef d’oeuvre of Meyerbeer, is always a serious undertaking for an impresario. It has ever been an ungrateful task. The demands, not only in the grand outlines, but even in the details, are so exacting that nowadays even a satisfactory performance is something to be vainly hoped for. Success has rarely characterized its representation.

A glance at the history of opera will reveal a checkered career such as no other operatic work has encountered. Forty years ago or more it first saw the light on the boards of the Grand Opera in Paris, with the following artists in the leading roles [historical sketch continues for the remainder of the paragraph]. 

Last night the rôles were distributed as follows [see above].

It may appear strange in a criticism of opera to refer to the sectarian prejudices of a librettist, but M. Scribe, who has supplied Meyerbeer with materials to work upon for his operas, has, under all circumstances, used the most objectionable means to form a dramatic story. In ‘Robert’ he resuscitates nuns who have sold themselves to the powers below; in ‘Le Prophète’ he agitates again the struggle between the Church of Rome and certain opponents; in ‘L’Africaine’ he places before his hearers the Inquisition of Spain as a religious engine, and in ‘Les Huguenots’ bishops, monks and priests come forward to bless the daggers soon to be steeped in blood of the Protestants of France.

The performance last evening at the Academy of Music closed at a very late hour, and it must be spoken of in detail to arrive at a satisfactory verdict upon it. Let us dispose of those grand foundation stones of Meyerbeer’s operas, the chorus and orchestra, first. The chorus was by no means what one would expect in these days when the cry of reform in opera is constantly dinned into our ears. The volume of voice was thin, the movements sluggish and the effect not inspiring. The clockwork precision which is so eminently necessary for Meyerbeer’s choral ideas was entirely absent, and notably in the ‘Rataplan’ the voices were at sixes and sevens. Again, in the concerted pieces, there was an evident want of proper rehearsals and appreciation on the part of the singers of the ideas of the composer. The orchestra, conducted by Mr. Maretzek, was admirable, well balanced and capable of giving due effect to the superb instrumentation of the work.

But in this opera, whether designedly or not, stand forth two great features, representing antagonistic religious elements, bound together and gradually harmonized by the power of love. These are and characters of Raoul and Valentine. Madame Pauline Lucca is the very embodiment of the one, Signor Vizzani a very weak representative of the other.

The remarkable dramatic genius of the prima donna found fine scope in the grand scena of the fourth act, where the immortal duo, the best that ever Meyerbeer wrote, received such a coloring and thrilling power that brought every one in the house to his feet. It is idle to say that Madame Lucca excels in one rôle more than another of those she has essayed in this city, for she is such a thorough, conscientious artist that she cannot help making a favorable impression in aught she attempts, but we can honestly say that this scene in ‘Les Huguenots,’ as interpreted by her, is a step beyond all her former representations. Of course, out of regard for the tenor, the music was lowered a note all through, and consequently Valentine had not a fair opportunity of giving those clear, ringing notes in the upper register that are so calculated to thrill the soul of the listener; but Madame Lucca made the scene one to be remembered for many a season to come.

Next to her we must accord sincere praise to Mme. Levielli. She gave proofs of an experienced, well trained artiste, and sang the music of the Queen quite commendably. Miss Clara Doria did not interpret the rôle of the Page even passably. Vizzani did better than on any other occasion since the opening of the season, and in one or two instances actually brought down applause. Jamet, for the first time in his operatic career in America, made a failure. His Marcel was both weak and tame, and he did not seem, especially in the first act, to be at home in the part. When we look back to the days when the ‘Pif! Paf!’ of Formes made Covent Garden shake (metaphorically speaking), we could not recognize in M. Jamet a true Marcel last evening. The Nevers and St. Bris did very well; not anything that would call for extended comment, but, we might say, respectably. Altogether the production of ‘Les Huguenots’ this season rests for success mainly on the shoulders of Mme. Pauline Lucca. The great prima donna has added another laurel to her American wreath and has gained an additional hold of the affections, admiration and sympathies of the New York public. The opera of ‘Les Huguenots,’ in its French or German form, is exceedingly long; but few would be willing to tolerate the unmerciful cutting it received last evening. The Italians seem to be desirous of depriving Meyerbeer of the principal elements of his strength. Hence the liberal use of the scissors in his works.”

“It is, we suppose, very generally conceded that the present opera season has been a matter of disappointment. There has been more than the usual discrepancy between promise and fulfillment. The new operas that were to have been given have gone out of all mention, and instead of them the oldest campaigners on the roll have been put on duty. However, in the production of ‘The Huguenots,’ on Wednesday evening, the management have brought forward an opera, at which no one can cavil, even though it is familiar. The following was the cast of the principal characters [see above]. The performance was, on the whole, a smoother one than might have been anticipated from the ill success that has attended the performances of all previous operas that presented any difficulties. There were, indeed, a sufficient number of weak points in the present case, and the chorus managed on several occasions to call down on itself the indignation of a portion of the audience, expressed in that peculiar fashion more common in French and Italian opera houses than in our own.

Meyerbeer, who did not write for performers of the babe and suckling order, had a way of occasionally leaving his chorus to sing without accompaniment, as for example in the rataplan chorus, and wherever this occurred in the ‘Huguenots’ the occasion was signalized by some exhibitions more startling than agreeable. But where an opera of this magnitude is brought out for two or three nights only, it is perhaps unreasonable to expect a good performance from any but the principal soloists.

Madame Lucca was in admirable voice, and sang with her accustomed warmth and breadth of style, commanding and deserving the admiration of all who heard her. Signor Jamet also gave the superb music of Marcel’s rôle with artistic finish. It needs a voice of lower range than Jamet, and of heavier quality, to do it full justice; but the want of these is atoned for where there is intelligence in the actor, and a perfect knowledge of the music and refined execution in the singer.

It need hardly be said that Signor Vizzani is not equal to the requirements of the part of Raoul either in action or voice. He is quite overweighted with it. To sing prettily is not enough in this noble character. It requires stamina, for in the great tragic duet in the third act the tenor is brought into direct contrast with the prima donna, and where Mme. Lucca is that prima donna the warblings of a tenor, however sweet they may be, are not all that the situation demands.”

“’Gli Ugonotti’ was repeated at the Academy of Music last evening. The performance deserves the warmest praise. As on Monday [Wednesday], the admirable personation of Valentina by Mme. Pauline Lucca, would have been sufficient to raise it far above the plane of ordinary representations. Yesterday, however, the entertainment derived a fresh interest from the improvement apparent in the work of chorus and orchestra; from the capital vocal condition of Signor Vizzani; from the more successful efforts of M. Jamet to fill a character his voice is not suited to; and from the substitution, thanks to her recovery, of Señorita Sanz for Miss Doria. When Signor Vizzani is not under the influence of illness, we could hardly wish for sweeter singing than his gifts and skill enable his hearers to enjoy. The tenor’s first cavatina, ‘Piu Bianca,’ was delivered, on the occasion we refer to, with great charm, and in the trying passages with Mme. Lucca in the latter part of the opera, though dwarfed in point of dramatic impressiveness by the passion and pathos of the prima donna, his acting was intelligent and earnest, and the use of his very sympathetic tones exceedingly effective. M. Jamet did himself far more complete justice than on his first appearance as Marcello, and his spirited recital of the ‘Pif paf’ solo in act the first was heartily applauded. Señorita Sanz restored, of course, ‘No, no, no, no,’ omitted on Monday, and in that song, as in the less exacting ‘Nobil Signor,’ elicited cordial proofs of the audience’s gratification. As on the first night of ‘Gli Ugonott,’ M. Coulon was St. Bris, Signor Sparapani De Nevers, and Mme. Levielli Margarita. Of Mme. Lucca’s labors we have already written, and they were as potent, last evening, to hold the attention and compel the enthusiasm of those who beheld them, as on Monday [Wednesday]. Nothing could be more consistent in conception, more varied in execution, and more touching and forcible than the lady’s picture of Raoul’s love; Mme. Lucca’s simple dumb show is as eloquent testimony to her sensibility and her might as a tragedienne, as is her superb voice to her right to the foremost place among lyric artists. The wonted plaudits and recalls followed the striking scenes of the opera, and, after the curtain had fallen, Mme. Lucca was again and again summoned to the footlights with immense heartiness.”

“It pleases some of the musical critics of the morning papers to speak disparagingly of the opera company now performing at the Academy of Music, but they have reasons for doing so not pertaining to the merits of the performances. We shall take an occasion soon for unveiling what these reasons are; that is, as soon as we shall have gathered all the facts; but meanwhile we assure the public that the representations are not to be estimated by the reports of these pretended critics. Last evening ‘The Huguenots’ was given with unusual excellence and force, and was rapturously applauded by the audience. Compared with the rendering of the opera that we had last winter, it was a most delightful improvement. Madame Lucca sings the principal part, which she studied under the composer himself, as it has never before been sung here, and she is admirably supported by Jamet, who was last night really superb, by Leveilli, Vizzani and Sanz. The choruses went off far more smoothly than the first night, the orchestration was better, and as a whole, we have seldom had a more successful attempt to provide the lovers of music with the grander compositions of the great masters.”

“Last night ‘The Huguenots’ was performed at the Academy of Music for the second time this season. The cast underwent but one change, and that unmistakably for the better, in the person of Mlle. Sanz, who sung the part of Urban, the page, instead of Mlle. Clara Doria, whose name, however, was on the bills. The aria ‘No, no, no!’ in the second act, omitted on Wednesday night, was given by Mlle. Sanz, and with effect. The chorus, too, was a little better in hand, but still with room for improvement in numbers and efficiency. Mme. Levielli, as Marguerite, was in better voice than on Wednesday night, and her artistic execution had, therefore, a more even chance for display, in the absence of a wiriness of tone that marred her singing somewhat on the previous representation. Signor Jamet has not improved, for it is not in the nature of this artist to present a performance that he can better as he goes on. The rôle of Marcel is too heavy for him, and he showed on the first night that he was stretching the limits of his capabilities. The success of Mme. Lucca as Valentine was repeated with even more marked emphasis of esteem. The great scena in the fourth act was a burst of genius, carrying everything before it in singing as well as acting, and having but one drawback—namely, making painfully apparent the want of manly emotion in the Raoul, Signor Vizzani. The latter doubtless did all he could to hide his deficiencies by annihilating, as far as he could, his presence on the stage and avoiding any strain for effect which could have resulted in conspicuous failure. He deserves thanks for this. Taken altogether, Meyerbeer’s great work was better treated than on Wednesday.”

“One addition has been made to the repertoire at the Opera; namely: Les Huguenots, which was performed last night for the first time this season, with Mme. Pauline Lucca as Valentine. The morning papers speak highly of her singing, although they give but faint praise to the other performers. In fact the Italian Opera is generally acknowledged to be a dismal failure, and there are predictions that the management will have to retire ingloriously from the field at the close of the present season.”