Strakosch Italian Opera: Ernani

“The performance of ‘The Huguenots,’ announced for last evening, was postponed on account of the illness of Mme. Nilsson, and in place of it ‘Ernani’ was repeated, with the same cast as before. Although many of the ticket-holders, on learning of the change from the posters at the door, went to the box-office and received their money back, a very large and brilliant audience remained, and we need hardly say that they were amply compensated for their perseverance. ‘Ernani,’ ‘in spite of some minor drawbacks, is better rendered by this company than almost any other opera yet produced under the present management, and the Don Carlo of M. Maurel is one of the noblest personations that we have seen on the lyric stage of New-York for several years.

 

It is evident that great expectations are entertained of the success of ‘The Huguenots,’ and with this opera and ‘Aïda’ Mr. Strakosch hopes to throw upon the closing weeks of his Winter season a more brilliant light than the gloom and depression of panic times has allowed to be shed upon the earlier nights. If the indications of last evening are to be trusted, there will be a magnificent audience whenever ‘The Huguenots’ is ready for presentation.”

“The crowd of visitors who flocked to the Academy of Music last night were disappointed to find that the ‘Huguenots’ could not be produced. Madame Nilsson was ill. The announcement was not made to the managers till late in the afternoon, and the artists who were to take part in the revival did not hear of the change until they arrived at the theatre.

 

At first it was intended to bring out the ‘Huguenots’ with another prima donna, but this plan was soon abandoned, and it was decided to repeat ‘Ernani,’ with Torriani, Campanini, Maurel and Nannetti. A large audience was present, not many of those who came to the house going away on account of the change of opera.

 

‘Ernani’ was well sung, though scarcely with the spirit that characterized the recent performances of the work. Torriani sang well, and Maurel, as usual, secured an encore for the finale of the third act.”

“Academy of Music—Italian Opera.

 

The best laid schemes o’ mice and men

Gang aft a-gley.

 

And so it was with Impresario Strakosch last evening. Everything was prepared and the entire operatic troupe of the redoubtable manager was marshalled in battle array for a lyric assault on the greatest of all operas, ‘The Huguenots’ of Meyerbeer. But when the hour came and unlooked-for obstacle presented itself. The leader of the lyric forces fell sick and nothing was left but a change of opera. Late in the afternoon, to the consternation of the management, an ominous document, in the shape of a medical certificate, announcing Mme. Nilsson’s illness, appeared in the box office. Instantly all was commotion. Fryer rushed frantically in search of Strakosch, and Muzio and Behrens organized themselves into a corps d’assaut and charged in a coupe on every prima donna within the city limits who might possibly be acquainted with the music of ‘Valentine.’ Their adventures for an hour or so would form a libretto for an opéra bouffe worthy of Offenbach. The most enterprising newspaper interviewer sank into utter insignificance in comparison with the sturdy energy of these two knights of the baton. Prima donna after prima donna was sought after and found; but one and all shook their dainty heads at the proposition to sing the rôle of Valentine at an hour’s notice. At length, the management came to a sensible conclusion, and changed the opera to ‘Ernani,’ which was the best selection under the circumstances. The disappointment—for a great number in the house were attracted by the announcement of ‘The Huguenots’—was intense, and yet it served a good purpose. It showed the perfection of the ensemble of Mr. Strakosch’s company and its rare artistic talent. Take, for instance, Companini [sic]. He was filled to repletion with the music of Meyerbeer until nearly six o’clock P. M., when the announcement was made to him of the change of opera. Yet he sang the title rôle in Verdi’s opera with the spirit, elan, and energy that it demanded and that might be expected from a tenor of his standing fully prepared for the work. And yet this was at two hours’ notice, and the great Italian tenor was prepared for Meyerbeer’s chef d’œuevre. Nannetti, who was prepared for the arduous rôle of Marcel, sang the music of Silva with effect and success, and won applause in his passionate rendering of ‘Infelice.’

 

But the grand feature of last night’s performance was the exquisite finish of the act of M. Maurel in the rôle of Carlo Quinto. And yet this artist, who was prepared until a late hour for the arduous music of St. Bris, readily accommodated himself to the change and made a greater effect than ever in the part of the Emperor. Nothing has been heard in the history of the Academy of Music more beautiful than the rendering of the music of Carlo Quinto by Maurel. He was recalled over and over again, and the audience seemed not to tire of their appreciation of his efforts. Mlle. Torriani gave a tame impersonation of the rôle of Elvira and was evidently unprepared for the task assigned to her. Had ‘Les Huguenots’ been given last night the receipts would have been more than $7,000. As it was, with the exception of 100 ticket holders, the audience remained to hear ‘Ernani,’ and, better still, bought tickets for ‘Les Huguenots’ for Monday night. There was not a single expression of dissatisfaction, and everyone seemed contended with the change, as the opera of ‘Ernani’ was given with a completeness of ensemble that left little to be desired.”