Maretzek Italian Opera: Die Zauberfl�te

Brief. “There is a Napoleon-like strategy in the celerity of Max Maretzek’s managerial movements. He pounces down upon us next Friday evening at the Lyceum Theatre.”

Long article about Tamberlik in Paris, quoting the Revue des Deux Mondes.

“In ‘Il Flauto Magico’ Mme. Di Murska is to be heard in two airs which very few songstresses can interpret as written; and Mme. Pauline Lucca has a great deal of melodious music to recite.”

“…This production of Mozart has no attraction with mediocre singers to interpret its music. Even with Mme. Lucca as Pamina, Mlle. di Murska as the Queen of Night, and Mons. Jamet as Astraffiamente [sic], there was at the last performance of the opera here a palpable need of strength in the lesser parts. As Pamina Mme. Lucca is extremely good, and Mlle. di Murska is probably unequalled in the bravura singing, which is the great feature of her part in ‘The Magic Flute.’”

Portions quite difficult to read. “Mr. Maretzek gave an improvised performance of the ‘Magic Flute’ last night at the Lyceum Theater, with the same cast that attracted so much attention when he presented the opera a few weeks ago. It drew a very large audience, but made few claims to critical attention. Evidences of inadequate preparation were abundant everywhere. The scenery was often ludicrously inappropriate. The stage [illeg., could be “fittings”] were more than usually shabby. The performance as a whole was wearisome and [illeg.], and the deficiencies of several of the characters—such as the Tamino of Sig. Vizzani, the Monostatos of Sig. Testa, and we are afraid we must add the Papageno of the amusing but almost voiceless Ronconi—were too glaring to be overlooked. Madame Lucca was in good voice, but did not seem to do her customary [illeg…]; and Madame Ilma di Murska, though she [illeg…] two arias with the same extraordinary vocalism which [illeg.] the town last month, certainly showed [illeg.]. She sang perhaps with as much brilliancy as ever, but hardly with as [illeg.]—a circumstance which may, after all, be accounted for by the depressing influence of a representation which evidently labored under difficulties from the start. When the curtain rose upon the Second Act, after a very long intermission, the chorus of priests was discovered drawn up on the stage, but there was no Sarastro. At the end of the orchestra inter[illeg.], there was a long wait. The introduction was played [illeg.] twice. Then there was another awful pause. Sig. Torriani [illeg.] back once more and gave the signal to the band, but the music [illeg…] all parts of the house. The stage manager finally appeared and starting that M. Jamet (who had sung as usual [illeg.] First Act) had become suddenly indisposed, begged a few ‘minutes’ indulgence. Shortly afterward the chorus [illeg.] off the stage, the scene was [illeg…] M. Jamet sang his [illeg. Aria, ‘Qui sdegno,’ admirably, and was very cordially applauded.”

“‘Il Flauto Magico’ was sung at the Lyceum Theatre, last evening. The performance did not differ from that which recently occurred at the Grand Opera-house, Mme. di Murska awaking a great deal of enthusiasm for her facile delivery of the high and florid music of Astrafiammante, Mme. Lucca caroling the flowing melodies allotted to Pamina, and Signor Vizzani, M. Jamet, and Signor Ronconi—the latter wearing a brand-new costume made in imitation of a parrot’s plumage—filling the remaining parts. During the representation an unpleasant incident occurred. After a protracted intermission, the curtain rose for the second act, and disclosed the priests of Sarastro awaiting their leader. They awaited him patiently, and the audience followed their example, until M. Dubreul, the stage manager, came forward, and, announcing that M. Jamet—who, by the way, had already sung—was indisposed, and asked their indulgence for a brief delay. Upon this the priests departed, the scene was changed, and soon afterward Sarastro reappeared and recited Quis degno as though nothing had occurred. Everybody, of course, understood that M. Jamet was in excellent health, and was certain that his unwillingness to fulfill his task did not arise from sickness. It was felt, however, that no cause except illness should bring about a suspension of the entertainment by an artist’s refusal to do his duty toward the public; and had the audience given expression to its sentiment, it could scarcely have been accused of harshness.”

“Mr. Maretzek made a great mistake last night in attempting Italian opera in a theatre utterly unsuited in every acoustical point of view for any performances where acoustics must be considered. He presented the ‘Flauto Magico’ with a cast similar to that which we spoke of a few weeks ago at the Grand Opera House. The effect of the voices of the three principal singers, Mlle. Di Murska, M. Jamet and Mme. Lucca, owning to the wretched acoustical properties of the house, fell without effect on the large audience assembled on the occasion. We cannot recall a performance in this city in which operatic artists have been so unfortunately placed. The Astrafiammente of Mlle. Di Muskra was as brilliant as ever, and Mme. Lucca’s wonderful voice—wonderful on account of the immense breadth of tone and thrilling effect of the lavish gifts of nature with which she is endowed—produced the usual effects on the multitude. An apology was made for Sarastro, on the score of indisposition, in the second act, yet, strange to say, three minutes after, M. Jamet sang without the slightest trace of indisposition, but in his best voice, the grand aria, ‘Qui Odegro Non s’accende.’ Such an extraordinary proceeding is one of those mysteries that operatic managers in this city occasionally indulge in, and the audience last night did not seem to understand it. The staccato passages of the second air of the Queen of Night, commencing with ‘Gli Angui D’inferno,’ were delivered by Mlle. Di Murska with an élan and dash that such an accomplished bravura singer could alone produce, and Mme. Lucca brought to the rôle of Pamina all those qualities that a prima donna possessed of such a grand voice can furnish. Mais après ells le deluge. The general tenor of the performance was not calculated to inspire confidence in the capacity of the company. What between the theatre, horrible for all acoustic purposes and the company, always accepting the prime donne, the performance of the ‘Magic Flute’ last night was a complete fiasco. Even the prime donne, artists though they undoubtedly are, could not succeed in making the performance even within the reach of mediocrity. It is to be hoped that no such performance will be allowed to disgrace the operatic boards of the metropolis again this season.”