Maretzek Italian Opera: Gli Ugonotti

“It would be a great pleasure, as well as a matter of simple justice, to review in detail the representation of ‘Gli Ugonotti,’ offered by Mme. Pauline Lucca and Mr. Maretzek’s company at the Academy of Music last evening. The first performance of the opera was heartily commended in this place; the second was referred to as having derived an increased excellence from its public rehearsal; and now the third recital of Meyerbeer’s magnificent composition is to be mentioned as worthy, both by reason of the genius of the principal songstress and the efficiency of all the artists concerned, of the most pretentious of European opera-houses, and the most exacting of audiences. The occurrence of graver events so limits the space reserved for notices relative to music and the drama, that it is not possible to deal with the rendering of ‘Gli Ugonotti’ in accordance with our desire or its deserts. We must, therefore, be content for the present to state that while Signori Vizzani and Sparapani and MM. Jamet and Coulon were in excellent voice and training, Mme. Lucca fairly surpassed herself in the fourth act of the opera; and that equally impassioned singing and dramatic acting—singing and acting into which Mme. Lucca enters heart and soul, and which, as a consequence, impress as no studied effect can do—have never been had on the American stage. Repeated calls before the curtain marked the close of the scene ending with Raoul’s flight and its discovery by Valentina; and the prima donna and tragédienne was again and again constrained to reappear and acknowledge the tributes of plaudits and flowers. Mme. Lucca was ably seconded by Signor Vizzani in this portion of ‘Gli Ugonotti.’ The gentleman lent something more than the charm of his tones to his share of the grand duet; and, doubtless inspired by the presence of Valentina, rose far above the plane to which his early exertions in this City seemed to assign him. A more minute consideration of the performance, as we have already said, must be deferred.”

“The representation of the ‘Huguenots’ at the Academy was last night much smoother than on former occasions. The chorus worked together better, and showed a decided improvement. In spite of a slight indisposition Señorita Sanz sang in the rôle of Urbain, investing it with the graceful interest which of right belongs to it. Her rendition of the charming air ‘No, no, no’ was marked by artistic finish and an excellent method. We regret to say that the audience were not as liberal in acknowledgment as we should have desired. The chief interest, however, centered in the diva Lucca, who sang the rôle of Valentine with a sweetness, tenderness and power that fairly captivated the audience. The great triumph of the evening was the duet, ‘Tuo mio sospir,’ which was rendered with remarkable force and dramatic power. Here Madame Lucca found full opportunity for the display of her unrivalled dramatic talent. She was well supported by Signor Vizzani, whose Raoul improves with repetition. In the final passages he was effective beyond expectation, and the audience marked their approbation by a burst of enthusiasm, that was the more marked on account of the unsympathetic feeling manifested through the performance.”