Strakosch Italian Opera: Martha

Announces Traviata, not Martha.

Announces Martha with cast and role list.

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

“A very large and fashionable audience filled the Academy of Music last night on the occasion of the second representation this season of Flotow’s ‘Martha.’ The opera was rendered with all the finish and spirit that come from a perfect familiarity with the music on the part of all engaged in the performance. The usual happy hits were made by Madame Nilsson in the ‘Rose’ song, and by M. Capoul in the M’appari. Miss Cary and Signor Del Puente were both admirable in their respective parts, and the whole opera was a decided success.”

“The performance of ‘Martha,’ noticed in these columns a week ago, was repeated at the Academy of Music last evening. It differed from that already adverted to, however, in respect of the personation of Lionello, which character was filled by Signor Campanini, when Flotow’s bright and melodious opera was done for the first time this season. Yet M. Capoul’s work in ‘Marta’ [sic, throughout, as it was sung in Italian] is not a new theme, for it was as Lionello, two years ago, that the French tenor produced the strongest impression he has wrought. Now, as then, M. Capoul’s effort is that of a capital comedian; the good results of his latest labors, unhappily, have been rather impaired by an attempt to outdo more gifted singers. During Mme. Nilsson’s previous stay in New-York, the artist had no inducements—if, indeed, the name is a fit one for a not very sensible motive—to overtax his vocal powers. He had recently come from the Opéra Comique, where Italian voices are unknown, and, in America as in France, he sedulously devoted himself to the execution of his music and the acting of his parts without seeking to produce effects which he could not in reason hope to attain. Since that period M. Capoul has determined upon acquiring a voice which has been denied him, and, in an endeavor to seize upon the shadow he is on the point of losing the substance. We are prompted to make these remarks rather by a glance at M. Capoul’s achievements in the present series of entertainments than by his contributions to yesterday’s recital. Lionello is his best rôle, and its performance has so many excellences that we should be sorry for the sake of the artist’s exertions in ‘Marta’ and other light elements of the Italian repertoire, if he persisted in a course which must end in his sudden disappearance from the lyric stage. When M. Capoul uses his voice with the art taught in the best schools of Europe, and especially in France, he is a most welcome tenore di grazia. And as he is always facile princeps as an actor, he has advantages which very few rivals possess. Last evening he was welcomed with much cordiality, and, in the duet with Marta in act the second—especially in the passage ‘Ah, ride del mio pianto’—in the ‘M’appari,’ which had to be repeated; and in the finale of the third act, where the gentleman’s eloquent delivery was quite as acceptable as more silvery tones, he won great applause. There were no other notable incidents. As usual, ‘The Last Rose of Summer’ was redemanded, and so was the brindisi of Signor Del Puente. We might add that the representation passed off very smoothly—but that is no novelty this season.”

“Madame Nilsson was greeted with a full house last night, at the second performance of Flotow’s genial, sparkling work. Her rendering of the title rôle is deservedly popular, on account of the charming näiveté of her acting and the adaptability of the pure, crystal-like tones of her voice to the flowing melodies with which the opera abounds. The simple beauty of the interpolated Irish melody appears without a blemish, and receives even additional lustre [sic] from the exquisite expression of Mme. Nilsson’s singing. Gayety and pathos are admirably blended in her impersonation of Lady Henrietta, and unconscious grace adorns each aria and scene. M. Capoul undertook the rôle of the lovesick Lionel, and was received with such demonstrations by the audience as betoken the presence of a favorite. Where love making is in question the acting and singing of M. Capoul cannot fail to captivate the hearts of all the ladies in the audience. He sang ‘M’appari’ with such passionate fervor and intense expression that an uproarious recall as the consequence. Traces of his recent indisposition were perceptible in his voice, and nothing but his finished art saved him from breaking down in one or two scenes. Miss Cary and Signor Del Puente were in excellent voice, and won fresh laurels.”

Brief and general (about Strakosch performances of late, not this specific one). “The Italian Opera is not doing very well at the Academy, and Nilsson seems to have lost her former power of attraction.”

“The week at the Academy of Music was rounded off, yesterday afternoon, by a performance of ‘Marta.’ Mlle. Ostava Torriani, who is, without doubt, one of the most useful of Mr. Strakosch’s artists, personated Lady Henrietta with intelligence and spirit; in respect of the other parts, the distribution was the same for as Wednesday’s recital of Flotow’s tuneful work.”

Brief. “The matinée of ‘Martha’ at the Academy yesterday was well attended, and Mlle. Torriani won deserved applause by her finished and artistic rendering of the music of Lady Henrietta.”