Maretzek Italian Opera: Il trovatore

“Special Notice.—The opera of Trovatore will be presented on this occasion without alteration or transpositions from the original score of Maestro Verdi. The pianos used by the company are from Knabe’s celebrated factory, office 112 Fifth avenue [sic].”

“Tamberlick, for the first time in New-York, in his unsurpassed character of Manrico.”

“Signor Tamberlick will personate Manrico, in which part, we are told, he caused the spectators in Boston and Philadelphia to rise at him.”

“The Director begs to express publicly his thanks to Mme. Pauline Luca for accepting for this occasion the part of Azucena, and to Mme. Natali Testa for relinquishing the same part in order to enable the Director to present the opera of Trovatore with the above Extraordinary Cast, Unequalled In The Anals of Opera.”

Cast list. “SPECIAL NOTICE.—The Director begs to express publicly his thanks to Mme. PAULINE LUCCA for accepting for this occasion the part of Azucena, and to Mme. NATALI TESTA for relinquishing the same part in order to enable the Director to present the opera of ‘Trovatore’ with the above EXTRAORDINARY CAST, UNEQUALLED IN THE ANNALS OF OPERA.”

“In the programmes and advertisements the management thank Lucca for assuming, and Natali Testa for yielding to her, the part of Azucena; but this morning Madame Testa publishes a card, in which she objects to the change of cast which deprives her of a part by right belonging to herself, and adds: ‘In consequence of Madame Lucca’s want of delicacy in appropriating a rôle not belonging to her, and Mr. Maretzek having permitted it, I declare my contract null and void, and respectfully announce to the public that I am no longer a member of the Maretzek company.”

A card on the advertisements page. “My position and feelings as an artist compel me to adopt the only course left to me to give an unqualified public denial of the assertion made in the morning journals, that I have relinquished my role of Azucena, in ‘Il Trovatore,’ to Madame Lucca. That lady was desirous to sing the role at the beginning of the season, and I warned the management then that in case of such an event our contract was rendered null and void. Mr. Maretzek assured me that no such occurrence should take place, and I have sung the role since in Boston and Philadelphia. My astonishment at the announcement in today’s journals was great indeed. In consequence of Madame Lucca’s want of delicacy in appropriating a role not belonging to her, and Mr. Maretzek having permitted it, I declare my contract null and void, and respectfully announce to the public that I am no longer a member of the Maretzek company. FANNY NATALI TESTA. NEW YORK, November 13, 1873.”

“Mme. Natali Testa has severed her engagement with the Maretzek Italian Opera company on account of an alleged breach of contract on the part of the management, the part of Azucena, in ‘Il Trovatore,’ being given to Mme. Lucca without her permission.”

“It is really astonishing that with two such artists at his command as Mme. Lucca and Mme. Ilma di Murska, Mr. Maretzek should succeed in giving so many representations that are nearly worthless. The performance of the ‘Magic Flute’ on Thursday was wretched beyond excuse, and ‘Trovatore’ last night was merely a curiosity that might attract those who run after novelties but could please nobody a second time. Mme. Lucca essayed the part of Azucena, which is generally allotted to a contralto, though it is within the range of a mezzo-soprano voice. Some surprise was felt that she should have relinquished the first rôle in the opera to take up the second; but the result proved that her experiment was not a rash one. She raised the character of the Gypsy to a new dignity, and we are not sure but she gave it an interest and importance beyond the Leonora. Certainly she developed a rich coloring in the music and a tragic force in the chief situations which the oldest patrons of the opera had never realized before, and there were moments when the fiery little woman seemed to be fairly carried away by her own emotions and rapt into unwonted passion. But Azucena after all is not very often on the stage. The Leonora of Mme. Ilma di Murska was but a poor substitute for the Leonora of Mme. Lucca. The melo-dramatic music of this rôle needs a heavier and fresher voice and a broader style than belong to the extraordinary Hungarian vocalist, and even the embellishments which she introduced wherever occasion presented itself, could not make the personation as a whole effective. Nor was Sig. Tamberlik altogether successful as Manrico. There is always a sort of satisfaction in listening to this famous singer, for even when his voice is at the worst his beautiful art shines out clear and strong, and his phrasing alone is a delightful study. It is a melancholy sort of pleasure, however, and the occasional outbursts of splendor for which he reserves himself cannot make us forget that the great tenor belongs to a past generation. Of the Di Luna of Sig. Mari it is unnecessary to say anything, except perhaps that it was well matched by the Ferrando of the exasperating Reyna. The audience was large and indiscriminating, and a part of it even cried bravo after the ‘Il balen.’ The arrangements of the stage were all of the casual and happy-go-lucky style. The Anvil Chorus was given without any anvils, in the midst of a cheerful landscape resembling the banks of the Harlem River, with the High Bridge in the distance.”

“In spite of a rumor which unaccountably got abroad during the afternoon, ‘Il Trovatore’ was sung at the Lyceum Theatre, yesterday evening, by Mme. Di Murska, Mme. Lucca, and Signor Tamberlick. An audience that crowded the house enjoyed the performance, which was more notable because of the joint appearance of three distinguished artists than by its impressiveness or symmetry as a recital of Verdi’s well known work. We are rather disappointed at Mme. Lucca’s Azucena, although the lady rendered the music usually allotted to a contralto with the eloquence which a fine voice and unflagging earnestness of delivery can impart to much poorer themes. Mme. Di Murska’s Leonora, however, was all that was expected, and the artist’s facile and brilliant execution of ‘Tacea la notte;’ of the still more florid allegro following that piece, and of ‘Amor sull’ ali rosee’ delighted the listeners. Signor Tamberlick’s Manrico was an admirable personation. In none of his previous efforts have the finish and grandeur of his style been so apparent, and in none—because of the lack of opportunities—has his art as an actor been made so clear. Last night’s work convinced us more than ever that we have seen too little of this great tenor, whose répertoire embraces the most trying rôles, and who thus far has only come forth in ‘Lucia,’ in ‘Il Poliuto,’ and in ‘I Trovatore.’ In the latter opera at least some estimate of his capabilities could be arrived at and while his picturesque presence literally filled the stage from the moment of Manrico’s entrance his scholarly and tasteful recitatives, his delicious phrasing in ‘Ah! si, ben mio,’ and in the towe[illeg.] song, and his fiery declamation of ‘Di quella pira,’ in which he touched and maintained the C in alt, made up a real treat. A stormy encore was the result of the hearing of ‘Di quella pira,’ and after the brief but exacting air had been given anew, Signor Tamberlick was summoned before the curtain again and again.”

“Three great artists appeared in this theatre last evening in the well worn opera of Verdi. Mlle. Di Murska made the rôle of Leonora a great success, her rendering of ‘Tacea la Notte,’ and the following cabaletta and the scene of the tower giving evidence of great artistic qualities. Such a Leonora deserves to be classed among the best representatives of the part with whom this country is acquainted. Mme. Lucca created a furor in the rôle of the Gipsy. The first scene of the second act was invested with more than ordinary interest by her. All the familiar music of Azucena found a worthy interpreter in Madame Lucca. But the grand feature of last night’s representation at this theatre was the magnificent impersonation of the title rôle by Signor Tamberlik. The serenade, ‘Deserto sulla terra,’ was delivered with the exquisite phrasing and delightful voice of olden time, as we have heard it in London, and the artist brought to the glorious aria, ‘Il se ben mio,’ all that tenderness and expression which it demanded. The ringing tones of the ‘Di quella pira’ produced unwonted excitement and convulsed the audience with excitement. The Tamberlik of former days seemed on this occasion to have regained all his magnetism and power, and it would be difficult to mention an impersonation of the rôle equal to that of last evening for a dozen years past. Mari was the Count di Luna, and a sorry figure he made. He and the Ferrando, Signor Reyna, were in excellent voice, but the tone was that of terrific character that we naturally ascribe to a fog trumpet. Ferrando was got up in a costume composed of the dress of a British grenadier, a New York policeman and a Liederkranz ball doorkeeper. It is difficult to give an idea of the effect of an opera at the Lyceum Theatre. It is, without exception, the worst house adapted for musical effect in the United States. The old French Theatre was infinitely better. No opera company can expect to succeed in a house where voices and instrument sound as if they were outside in the street instead of being on the stage and in the orchestra. Better Dan Bryant’s or Tony Pastor’s at any time than the Lyceum for musical purposes. In such a case detailed criticism becomes an impossibility.”

Mentions the performance took place, then: “…Mme. Natali Testa, to whom the role of Azucena belonged, became incensed because she was not cast for that role, and withdrew from the company.”