Articles on the double Italian opera season of fall 1873

“Before the close of the present week we shall know to the full extent what our operatic managers have provided for the present season. Last week, at the Academy of Music, Mr. Strakosch brought out, one after the other, all of his stars, except Mlle. Ostava Torriani. Beginning on Monday night with Del Puente, the debut of Mlle. Maresi and Signor Campanini and Signor Nannetti followed on Wednesday night, and that of M. Maurel on Friday night. Mme. Nilsson, it was found, has returned to us more full voiced and sweet throated than ever, and one charming little American prima donna, Miss Cary, showed much growth even over her former excellence. M. Capoul retains the place he won two years ago. The chorus was strong and efficient, and the orchestra, under the able bâton of Signor Muzio, was so admirably managed as to mark a new era in operatic music in this country. The time has not yet been fixed for Mlle. Torriani’s first appearance. Three operas—‘La Traviata,’ ‘Lucrezia Borgia’ and ‘Faust’—have been produced already, and three others—‘Lucia di Lammermoor,’ ‘Il Trovatore’ and [‘]Martha’—will be presented this week. This is very rapid work, and the week’s programme is especially noteworthy as presenting the great prima donna every opera night. Mr. Maretzek is also ready with his attractions at the Grand Opera House, and to-morrow evening he brings out ‘Il Poliuto,’ with Tamberlik and Lucca in the leading rôles, and on Tuesday night Mlle. Ilma di Murska makes her first appearance in ‘La Sonnambula.’ Mme. Lucca’s singing is so thoroughly appreciated in New York that we need not dwell upon her merits in advance, and as for the others it is enough to anticipate the magnificent promise of their great reputations. All these things ought to make the week one of the most brilliant in the musical history of New York, and prove to the world that, though London may fail in so great an undertaking, this city is able and willing to support two Italian opera companies.

 

The great necessity for a successful season of Italian opera is, as we have often said before, a carefully selected company, a strong and efficient chorus and a powerful and well directed orchestra—perfection in ensemble and in mise en scene. These merits, so far, at least, are conspicuous at the Academy of Music, and we have no reason to doubt they will be equally conspicuous at the Grand Opera House. Shortcoming there are and of necessity must be, but we cannot complain in a garden of freshness and beauty that every thornbush does not bear a rose. It is the freshness and beauty of that part of our operatic garden which has been shown to us that delight us. Mme. Nilsson has gained in fulness and sweetness of voice in the last two years, and her support, like herself, is youthful and fresh and sanguine. Not a single artist so far has failed to meet expectation and soar above it. No discontent at promises made, but not fulfilled, has had occasion to manifest itself, and on every hand there are evidences of a new departure in operatic management and a bright and more brilliant prospect for the future. A new departure was sadly needed. Heretofore it was too often the practice to offer us a prima donna without a company, or, if a tenor was vouchsafed us, to deny us a barytone. An efficient chorus and orchestra have been regarded as impossible. Now soprano and contralto, tenor and barytone have met with public approbation at one house and are likely to do so at the other. We have had Italian opera intelligently and conscientiously presented, and we may with reason look upon the prospect as brighter in every way, both for the present and future seasons, than it has been in years.

 

If the managers continue to do well it only remains for the public to second their efforts. The people of New York can do more, at this time, to make Italian opera a permanent institution in this city than they could ever do before or may be able to do again. At last we have opera worthy of the name and worthy of the musical taste and culture of our people. No single swallow has been presented to us to make our summer of song, but we are in possession of well assorted flocks of singing birds. If we succeed with these other songsters will follow them year after year till we realize to its fullest extent the great idea of international opera—America possessing the best Europe has to send, and Europe drawing from America singers like Cary and Kellogg and endorsing our artists with the same justice we accord to those of the Old World. On the other hand, if we fail to be generous now it will put back operatic progress in this country at least twenty years. We must either take our place among the art mistresses of the world with the present generation of singers or wait for two decades to bring us as far as we are to-day. And all that we have to do is comparatively easy—it is to support our opera companies manfully, and by showing that we are capable of sustaining two good companies prove our ability and willingness to support one at any time.”

“We have to-night the unusual spectacle of two Italian operas composed of artists of the very first rank in their profession performing the one at the Academy the other at the Grand Opera House. This is common enough in London, where Drury Lane and Covent Garden vie with each other in brilliancy, but has hardly been known here since Arditi led off the revolters from the regular company and commenced a rival season at Niblo’s Garden with the divine Bosio as prima donna.

 

The event of the evening, musically considered, will of course be the appearance of Tamberlik at the Grand Opera House in conjunction with Mme. Lucca in the ‘Poliuto.’ Few singers have held so high a place in the public esteem as Tamberlik, and it is not a little singular that he should apparently have sung almost everywhere in the civilized world except in this country. This fact will probably all the more pique the public curiosity.

 

At the Academy of Music ‘Lucia di Lammermoor’ will be represented.”

“New York is favored just now with greater musical attractions than often fall to the lot of a single metropolis. London, during the season, as it is called, sometimes has two companies performing Italian opera in the best style of art, the one at Drury Lane and the other at Covent Garden. Paris always has, in the winter time, the Italian opera and the French opera, at one or the other of which, and often at both, some of the most distinguished singers of the day are to be heard. But we doubt whether Paris or London evener had a combination of musical ability more brilliant than that which now solicits attention. At the Academy there is the fascinating Nilsson, who has achieved the highest rank in her profession, and is numbered with the great names of Mara, Malibran, Grisi and others who have become historical. At the Opera House is Tamberlik, one of the finest tenors that has appeared on the stage. A special interest is felt in the appearance of Tamberlik, which is to take place to-night at the Grand Opera House in Donizetti’s ‘Poliuto,’ because it is his first appearance before a New York audience. Lucca is to be the prima donna of the evening, and Mari, a new comer [sic], the baritone. The opera has been carefully rehearsed, and pleasant anticipations are indulged in musical circles as to the result of this evening’s performance.

 

At the Academy of Music the opera of ‘Lucia’ is announced—Nilsson and Campanini singing together for the first time. Del Puente will also take part. It is difficult, indeed, for amateurs to decide which of these entertainments to patronize to-night, and we take pleasure in relieving their anxiety by assuring them that both will be first-class, and that either of them will amply repay and delight their choice.”

“New-York has much reason for pride in its popularity as a musical centre [sic]. To be sure, we do not assume the intensely critical airs of our neighbors in Boston, nor are we so skeptical as our friends in Philadelphia. Nevertheless, we get the best music to be had each season. The musical attractions of New-York have increased in merit yearly, and certainly, at no time before in the history of the City, has there been anything to approach the brilliancy of this year’s operatic season. With two large companies, either of which is superior to what we have hitherto been accustomed, and three out of the four prime donne of the world, New-York may begin to drop its character for modesty in musical matters.

 

Both companies have now given us a taste of their quality; and while comparison is unnecessary, the peculiar merits of each are worth some attention. No one who has seen Mr. Strakosch's company can fail to be struck with its singular completeness. Each opera, so far, has been sung better, as a whole, than we can remember it being done before. The manager has surprised the public, not with Mme. Nilsson, who is too well known and admired for that, nor with Signor Campanini, whose fame preceded him, but with a few artists whose merits were unheralded. Signor Del Puente is pronounced the best baritone singer, with the exception of Mr. Santley, seen in New-York in many years. Mlles. Maresi and Torriani are artists of uncommon ability. To a public accustomed to one great singer and a number of very indifferent ones, the début of each of these three artists was a most welcome surprise. Of Mme. Nilsson we need only say she sings better, and is, if possible, more popular than ever. The new tenor, Signor Campnini, has created a genuine sensation. He is conceded to be the best Italian singer we have had in New-York since Mario first came among us. He sings with the ease and fluency of Mr. Santley, and his voice is the purest and sweetest heard in Italian opera since the death of Giuglini. M. Capoul is a great favorite in New-York, and, in his way, is an admirable artist. The rest of the company, the chorus, and the orchestra are a vast improvement on the efforts of former years.

 

Mr. Maretzek's company is an exceptionably strong one. Mme. Lucca's rentrée on Monday night testified to the hold her genius has on the public. She has made a position for herself with musical New-York which could not be filled by any other singer. Signor Tamberlik [sic, throughout] has proved himself a consummate artist. His voice, despite the ravages of time, has wonderful power and sweetness, and there is enough in his execution and actin to make his visit here one to be gratefully remembered. Mme. Ilma Di Murska has even excelled what had been predicted in her favor. This extraordinary singer created a genuine furor on her first appearance, and has proved that even managers cannot always exaggerate the merits of their artists. Such enthusiasm as Mme. Di Murska inspired by some of her feats of vocalism has rarely been heard within the walls of an American theatre. The promised production of ‘The Huguenots,’ with this lady as Marguerite de Valois, one of her most famous characters, Mme. Lucca as Valentine, and Signor Tamberlik as Ronal [sic] will be a most memorable performance, and the cast a better one, we should say, than the opera has ever had in this City. Mr. Maretzek's company also includes some excellent artists who have not as yet been afforded much opportunity for the display of their ability. Taken together, Mr. Maretzek's present company is the best he has ever presented to us, and to Mr. Strakosch should be awarded similar praise. With the promise of an unusually efficient English opera company, headed and directed by Miss Kellogg, who ought to make English opera popular, if anybody can, our cup of musical delights is brimful, and will doubtless be quaffed with eagerness and appreciation.”