Strakosch Italian Opera: Les Huguenots

“The Bohemian Dance in the third act by Mlle. Billon.”

Brief. “Another performance of ‘Les Huguenots’ last night delighted a large audience, and added to the estimation in which Nilsson, Campanini and Nanetti [sic] are held by our musical public.”

“Each representation of Meyerbeer’s chef d’œuvre, ‘Gli Ugonotti,’ by the admirable opera company of Mr. Strakosch surpasses in finish of detail and general spirit its predecessor. The performance last evening had many points of merit which were hitherto wanting. The most notable one last evening was the excellence of the impersonation of Queen Margaret by Mlle. Maresi. This artist was in better voice than usual, and the few defects which we observed before in regard to slovenliness in recitative singing have entirely disappeared. Miss Cary’s two arias as the page were faultlessly delivered, and Signor Nannetti was quite at home in the music of Marcel. The military band, the orchestra, and the chorus in the finale of the third act, ‘Il Destin,’ were for once in accord, thanks to the diligent exertions of Maestro Muzio and the fine barytone [sic] voice and finished school of M. Maurel, lent an air of dignity to the rôle of St. Bris. The indignant refusal of the Count De Nevers to participate in the massacre of St. Bartholomew brought out M. Del Puente in the best light, and the celebrated ‘Benedizione del Pugnali’ and the ‘Rataplan’ left nothing to be desired. Had nothing been presented by the grand duo of the fourth act, as sung by Mme. Nilsson and Signor Campanini, the expectations of the majority of the audience would have been satisfied. It is, without exception, the grandest exhibition of lyric and dramatic power witnessed on American operatic boards for many years. The trio of the fifth act, which serves as a farewell between Valentine, Raoul and Marcel, was an impressive close to this fine representation of the grandest of operas.”

“‘Gli Ugonotti,’ was again done at the Academy of Music Monday, in presence of an audience numerous and unusually enthusiastic. Fine as was the initial performance, this season, of Meyerbeer’s colossal opera, each recital has derived an increased interest from evident improvement, and the latest rendering really left less room for adverse criticism than any entertainment of the kind within our memory. The advantages of repetition were, of course, mainly perceptible in the concerted music of which there is so liberal an allowance in ‘Gli Ugonotti,’ and the effectiveness of the scenes in the Pré aux Cleres, and of the benediction of the swords could scarcely have been heightened. There was, however, discernible in Monday’s work an unusual spirit on the part of the principal performers, and, whatever the influence, it is certain that the opera seemed more impressive than before. The fourth act was given with particular eloquence. Mme. Nilsson’s Valentina has gained much in respect of detail, and her acting and singing while she holds Raoul a prisoner under her father’s roof was, on the occasion we write of, worthy of the highest commendation. As Raoul, Signor Campanini’s beautiful voice, which he manages with consummate art, has ample scope for display in the grand duet, so full of variety and charm; and as the tenor acts with a fervor and a force exceedingly uncommon among equally gifted artists, his achievements in the fourth act are not only to be applauded, but to be remembered. There was no lack of appreciation to complain of in connection with the day before yesterday’s performance, for, at this stage of ‘Gli Ugonotti’ Mme. Nilsson and Signor Campanini were called before the curtain four times. The other features of the representation have been dwelt upon sufficiently already. We cannot hope to listen to a more accomplished page than Miss Cary’s Urbano sets before us; and, although we could wish that Mlle. Maresi were a trifle more graceful in her well-meant attempts at animation, she is at all events to be credited with a correct and facile execution of Margarita’s florid music. Mr. Strakosch’s company is especially strong in the sterner sex, and hence every important rôle in the opera is sustained with efficiency. Signor Nannetti is at his best in the third act, during the duet between Marcello and Valentina, and the pretty arioso, commencing ‘Non pentirti,’ shows capitally the richness of his tones. M. Maurel’s St. Bris we need but mention as one of those highly picturesque and elaborate personations from a lyric and histrionic stand-point, so unfrequent in modern recitals of opera, and Signor Del Puente’s Nevers we have heretofore characterized as most satisfactory. ‘Gli Ugonotti’ will be sung at the matinée on Saturday, when we trust that the single opportunity to be accorded the ladies of listening sans escort to Meyerbeer’s masterpiece, will not be overlooked.”

“An immense audience was gathered at the Academy of Music Saturday afternoon, when ‘Gli Ugonotti’ was represented for the last time. The performance does not need fresh comment; we are glad to be able to note that its rare excellence was heartily appreciated.”