Maretzek Italian Opera: Poliuto

Event Information

Venue(s):
Grand Opera House

Proprietor / Lessee:
Augustin Daly

Manager / Director:
Max Maretzek

Conductor(s):
Max Maretzek

Price: $2 general admission; $1 family circle; $1-2 extra reserved, according to location

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
11 March 2025

Performance Date(s) and Time(s)

06 Oct 1873, Evening
08 Oct 1873, Evening

Program Details

First appearances in New York of Tamberlik and Mari.

Tamberlik replaced “D’un alma troppo fervi da tempra” with an unidentified aria by Stigelli that had been composed expressly for him.

Lucca also made a substitution (see New York Herald review).

No reserved seats in the family circle.

Performers and/or Works Performed

Poliuto

Composer(s): Donizetti

Text Author: Cammarano

Participants: Maretzek Italian Opera Company; Herr [tenor] Huck (role: Felice); Giovanni [baritone] Reyna (role: Callistene); Pauline Lucca (role: Paolina); Enrico Tamberlik (role: Poliuto); Enrico Mari (role: Severo); Signor [tenor] Bussi

Citations

Advertisement: New-York Times, 06 September 1873, 7.

Early advertisement for upcoming season.

Announcement: New-York Times, 07 September 1873, 4.

“Mr. Max Maretzek announces formally, in another column, the approaching inception of the season of opera at the Grand Opera-house. It would require more space than is now at our disposal to initiate the reader into the mysteries of opera management, but any one at all au fait of operatic affairs will easily discern in the apparently peaceful terms of the announcement all the characteristics of a Mexican pronuncimento. Mr. Maretzek, however, can stray from the beaten track with impunity, for the public does not require a lengthened introduction to his artists. Mme. Lucca is well known here; Signor Tamberlick enjoys a universal reputation; Mme. Di Murska has sung throughout Europe; Signori Vizzani, Ronconi, Jamet, and Mme. Testa are old friends, and Signori Mari and Rossi-Galli bear good recommendations as to gifts and talent. Mr. Maretzek merely mentions the fact of the engagement of these singers, satisfied as to the future result of their exertions.”

Advertisement: New-York Times, 07 September 1873, 7.

Early advertisement for upcoming season.

Article: New York Herald, 14 September 1873, 5.

Article on Tamberlik and his merits, also addressing whether or not he might be beyond his prime. Additional paragraph on him in an article about Nilsson and Salvini on p. 8. (The date is correct; this article was published in September.)

Article: New-York Times, 24 September 1873, 5.

“The sale of seats for the first and second performances of Italian opera by Mr. Maretzek’s company, at the Grand Opera-house, was begun yesterday.” Brief preview of first scheduled performances.

Advertisement: New York Herald, 24 September 1873, 8.

Advertisement: New-York Times, 24 September 1873, 7.

Short list of operas, prices, places for ticket sales.

Announcement: New York Post, 03 October 1873, 2.

“When an artist before whom for a quarter of a century the artistic world has thrown down its wreaths and garlands—an artist whose name stands enrolled among the very first in the records of lyric fame—comes to this country, it is but natural that those who are to hear him soon for the first time should be curious to learn how far he has preserved those splendid gifts of nature which, aided by the highest culture, have given him so glorious a reputation. Such an artist is Tamberlik, and the curiosity to hear him and judge how fairly that reputation has been won is all-pervading in the musical circles of this city. The members of the Maretzek opera troupe are the first to have this curiosity satisfied. Tamberlik sang yesterday at the first orchestral rehearsal of the ‘Poliuto.’ In the romanza of the first act he showed his astonished listeners what he could do; and in the ‘Credo’ of the second gave a touch of that wondrous power and grandeur of the style which is characteristic of this master of vocalization. It is not our province thus prematurely to judge of Tamberlik’s present abilities, nor would it be just to let out the secrets of a rehearsal. But we would advise those who wish to enjoy a musical sensation, to be remembered for a life-time, to visit the Grand Opera House on Monday evening next, when Lucca, Tamberlik and Mari will interpret the magnificent music with which Donizetti has closed the tender yet triumphant story of the lives and deaths of the Christian martyrs.”

Advertisement: New York Herald, 05 October 1873, 11.

10)

Review: New-York Times, 07 October 1873, 5.

“A very large concourse was assembled at the Grand Opera-house last evening. The event which attracted it was the opening of Mr. Maretzek’s season of Italian opera, and the interest which an opening night always possesses, was increased, on this occasion, by the début in this country of one great artist, and the reappearance of another. The new-comer was Signor Enrico Tamberlick [sic, throughout], and the familiar performer was Mme. Pauline Lucca. Both were greeted with exceedingly cordiality, and in respect of the award of applause, the two were treated with about equal liberality. Managers are usually shrewd enough to observe that a really popular opera need not be given on a first night, this, as mentioned above, having a magnetic power of its own. Hence it is that the best-liked works are generally held in reserve, and thus it comes that yesterday ‘Poliuto,’ one of the least admirable and least popular of Donizetti’s writings, was represented. We have, however, no desire to dwell upon the traits of Donizetti’s achievement, though we should have been glad if a more impressive story illustrated by sweeter and richer music had been chosen for recital. The incidents of the entertainment, as noted above, were the performances of Signor Tamberlick and Mme. Lucca, and these were of sufficient importance to draw away attention from its actual subject. The audience recognized in Signor Tamberlick a singer and an actor whose art is of the highest order. It was constrained to acknowledge, at the same time, that his voice has lost much of its sweetness, and that only the uppermost notes of the tenor have the requisite force to resound in all parts of a large theatre, and what might be called, to borrow an expression from the vocabulary of the turf, staying power. But there is much besides tones to be expected from Signor Tamberlick, and the expectation was not disappointed. The spectators listened with rapt attention to the clear articulation of each syllable, and to the splendid phrasing of the recitative, and broke out in plaudits when earnest and expressive acting was warmed by the feu sacré, and when the singer’s presence and words filled the house. But two such opportunities were afforded Signor Tamberlick. The first occurred at the close of the second act, when the convert Poliuto declare his faith in the Credo, which Signor Tamberlick substitutes for the tamer text of the libretto, and at this stage of the representation there was a loud demonstration of delight. The second came in act the third, when the brief duet, ‘O santa melodia,’ like the Credo, was repeated. If we further cite the aria in the first act, written, we believe, by Stigelli, for Signor Tamberlick, and rendered by him with the utmost eloquence of delivery, we shall have referred to those stages of the evening at which a particularly deep impression was wrought. Mme. Pauline Lucca, whose delicious and withal tremendous voice, was never in finer condition than last night, elicited special evidence of satisfaction in act the first, when, after the air, ‘Di qual soave lagrime,’ she executed the florid cabaletta, rounded off with an elaborate cadenza, and made as light of all difficulties as of the simplest phrase to be assigned to her. In the duo, ‘O santa melodia,’ Mme. Lucca, of course, approved herself a fit partner of Signor Tamberlick, and no more impassioned acting could be wished than was enjoyed at this points [sic] of their performance. Having alluded to the principal features of Mr. Maretzek’s initial entertainment, rather laconically, perhaps, but at sufficient length when it is remembered that we shall have much more favorable chances of referring to his company and repertoire, its remaining characteristics do not exact much notice. Signor Enrico Mari, one of the baritones of the troupe, has a strong voice, but he sang his first air, Severus’ ‘Di tanta beltade’ with so complete a disregard of intonation, that he failed to regain the confidence of the audience by his far more creditable after efforts. Callisthenes was personated by Signor Reyna, and Felix by Signor Huck. The orchestra was, as usual, under the baton of Mr. Maretzek, who, on his assumption of the conductor’s chair for the season, was received with hearty applause.”

11)

Review: New York Post, 07 October 1873, 2.

“Among the alter of the many operas written by Donizetti was one composed for the French stage and entitled ‘Les Martyres.’ Translated into the Italian it became ‘I martiri,’ and of late years it has been known to the world as ‘Poliuto,’ from the name of the leading character. The work was first introduced to an American audience by Picciomini, who was assisted by Brignoli and the elder Amodio. It was in this opera that Miss Kellogg made her first appearance on the stage. Cortesi and Zucchi both sang in it with splendid effect. It was last performed in this city some years ago by Miss Kellogg and the tenor Lefranc.

The music of the ‘Poliuto’ is rich, melodious, and often inspiring. In simple grace of melody it does not equal either ‘Lucia’ or ‘Lucrezia,’ or other well-known operas by the same composer; but dealing with a grander theme, it rises to greater heights. The entire opera is invested with a religious atmosphere. In Boston it has been sung as an oratorio, but it is capable of vast dramatic effects, especially in the second act, where the Christian convert overthrows the altars of the false gods, and in the scene of the approaching martyrdom in the last act. The great duet ‘Il suon dell arpe angeliche’ is a favorite piece for the concert room, but loses most of its effect when detached from the dramatic surroundings with which it is properly invested.

To a highly dramatic singer like Tamberlik the part of Poliuto offers epical attractions. In it he had won triumphs in Europe, at Havana and elsewhere, and this part he selected for his first appearance before a New York audience. To accommodate him Lucca undertook to learn the music of Paolina at short notice. She had never heard the opera performed, and her version of her part is entirely original. To Signor Mari, a baritone new to our audiences, was entrusted the part of Severus, and Signor Reina, who in past years had assumed that character, now consented to take that of the Priest. The cast was altogether an excellent one. The rehearsals had been conducted by Max Maretzek in person, and the chorus had been carefully trained. The musical public, anxious to hear a man of the immense reputation of Tamberlik, was prepared to welcome him with cordial enthusiasm.

So it was that last night at the Grand Opera house the crowded audience, long before the curtain rose, gave every evidence of impatient anticipation. Maretzek was applauded on taking his seat at the conductor’s desk. The overture was played, the curtain rose, and the group of Christian fugitives in the Catacombs sang the opening chorus. From the rocks then descended a manly figure arrayed in long, flowing robes, which, with the hair parted in the middle and the double-pointed beard, recalled the divine portraits by Guido Reni. This was Tamberlik, and the reception awarded to him by his friends was as hearty as he could desire.

After a few bars of recitative Tamberlik began his first aria—an interpolated selection from Stigelli which took the place of Donizetti’s simple melody, ‘D’un alma troppo fervido.’ It is a broad, massive, well instrumented composition, and was sung with fervor and spirit. The applause was liberal, but the verdict on the great artist was yet to be given.

Lucca’s appearance was the signal for a new and prolonged burst of applause, which was taken up again after the interpolated aria and cabaletta in which the young prima donna showed all her wealth of voice, and the resources of her splendid dramatic talent. Signor Mari, the new baritone, was the next candidate for public favor. He sang his long aria fairly, but at times was slightly out of tune. All the artists were called before the curtain after the set.

In the second act the opening duet for baritone and soprano was omitted. Tamberlik sang the aria ‘Sfolgoro divino raggio,’ without producing any marked effect, but in the concerted place at the close of the act he was superb. Here he sang the ‘credo,’ making of it one of the most magnificent pieces of musical declamation ever heard upon our stage. In it the best qualities of the vocalist were apparent. Superb phrasing, passionate expression and broad, grand style all were there. In such moments as these Tamberlik triumphs over all the defects which time, alas, has wrought in his ‘most miraculous organ.’ That his voice is what it was and what many expected yet to find it, we presume he himself does not claim. Beyond doubt, there was at various times during the evening a feeling of disappointment in the audience, but, notwithstanding this, in his ‘supreme moments’ Tamberlik created an enthusiasm such as our opera houses have not witnessed for years.

He was more than supported—almost eclipsed—by Lucca, who sang the music of Paolina with all the fervor of her fresh young voice, heightened by the rich splendor of her undoubted dramatic genius. The duet in the last act was, of course, a triumph for both artists, and was most enthusiastically encored.

The opera was well put upon the stage, the scenery being better than usual in our experience of the lyric drama, and the chorus showing a fresh and powerful supply of voice, as yet lacking in the finer shades of musical expression. The chorus behind the curtain, for instance—which occurs during the overture—as sung last night was entirely too loud.”

12)

Review: New-York Daily Tribune, 07 October 1873, 6.

“The opening of Mr. Maretzek’s series of performances at the Grand Opera House was more interesting in some respects than any other musical event of the season. Signor Tamberlik, who last night made his first appearance in America, has long ranked as one of the few really great singers of our age. The most extravagant stories are told of his successes in London, Paris, St. Petersburg, and Madrid, and the most of them undoubtedly are true, for he has been in his time one of the most magnetic of artists. A voice of phenomenal purity, and strength, and compass, a style remarkable both for polish and vigor, a fine manly presence, an infallible dramatic instinct,—these were among the most conspicuous gifts of the illustrious singer who kept alive for this perverted generation the noble traditions of a school now fast vanishing off the face of the earth. It was natural that a large audience of connoisseurs should assemble to witness his first appearance in New-York, and we choose to believe that a large part at least of the suspiciously prompt and unanimous applause which greeted his entrance was a genuine tribute of respect to a man whom the true lovers of music are bound to honor. The opera was ‘Poliuto,’ and the rôle of the hero is understood to be one of Tamberlik’s favorite and most congenial parts. What a beautiful picture he presented of the Christian convert, in his flowing hair and loose robes,—every gesture simple but majestic, every movement full of grace and life. He was not the meek devotee with bowed head and folded arms, but the ardent disciple, all aflame with the fire of self-sacrifice and the glorious ambition of martyrdom. How subtly he indicated this character with a few imperceptible touches, how carefully he preserved the illusion in every word, in every look, in every step, we despair of making those who have not seem him understand. It was a magnificent piece of acting, long to be remembered.

In his singing it has always been the custom of Signor Tamberlik to electrify his hearers by superb outbursts of eloquence in the critical situations of the opera, a custom for which his clear, sonorous, high-reaching voice gave him especial faculties. But in everything he is a conscientious singer, and in cantabile passages he must have been in his time a rival, not perhaps of Mario, but of many another artist who has sung away the hearts of women. Even now his method is an admirable study, and his phrasing is almost perfection. It is just as well, however, to tell the plain truth at once about his voice: that is sadly decayed. During the greater part of the evening it seems hardly to answer to the artist’s will. Now and then there are sweet and tender tones which go right to the heart, and whole phrases are delivered with the smoothness and freshness of youth; but Signor Tamberlik is obliged now to husband his resources with an unpleasant amount of care; the voice has lost its grateful [sic, not graceful] quality; and the vibrato sometimes passes almost beyond control. There were three or four passages in the opera last night where the fire of which we have heard so much blazed forth for a few moments—the duet in the first Act, the famous finale in the second Act (‘Credo in Dio’), the exultant duet with Paolina in the third (‘Il suon del arpe angeliche’); but these fitful illuminations only served to show more distinctly the surrounding ruin. That Signor Tamberlik’s début was a failure we are far from saying. In spite of every drawback there remain such brilliant evidences of what he has been, and there is so much grandeur still in what he is, that those who appreciate genuine art will follow him with respectful interest if not with unalloyed pleasure.

As for the Paolina, there is no danger of our giving her too much praise. We have never so fully realized the wealth of Madame Lucca’s voice as we did last night. There is abundant opportunity in ‘Poliuto’ for the display of such natural resources as hers, and no need of that reserve which she sometimes forgets to practice where there is call for it. She poured out the music in a magnificent volume that seemed to take even her warmest admirers by surprise, and in the great prison scene of the third Act she certainly eclipsed the Poliuto. We need hardly say that she was received with the utmost cordiality.

For the rest of the performance a few words will suffice. The Severo was a new baritone, Sig. Mari. He has been well trained in the Italian school of which the baritone Bellini was one of the most recent disciples in this city; but his voice is not in good repair, and he made no decided impression. Sig. Reyna succeeded in making the persecuting priest of Jupiter utterly odious to sight and hearing. A Sig. Bussi was a much more efficient second tenor than we commonly find. The chorus was strong but untrained, and the orchestra was the worst we have heard in Italian opera for a number of years.”

13)

Review: New York Sun, 07 October 1873, 1.

“The question probably uppermost in the minds of nearly every one in the great concourse of people that gathered last evening at the Grand Opera House was in substance this: Are we to listen to the Tamberlik of whom we have all heard so much, or are we to find in him a man who is brought here on the faith of a reputation that he has outlived and a voice that he no longer possesses?

Those who went to see Mario on the occasion of his last visit to this country and who imagine that in that melancholy singer they heard the great artist who so long delighted Europe deceive themselves. Tamberlik’s reputation has been as world-wide as that of Mario, and he is not a much younger man. The doubt, therefore, was a natural one that arose in many minds whether this was not to prove another instance to be added to the long list of singers brought to this new country after they had survived their reputation in the old one.

If it were necessary to answer the question that we have suggested directly and in a word we should unhesitatingly say that this was not the Tamberlik who in the great opera houses of the world has held for so many years the foremost place.

But like most questions this one is best answered with qualifications. And perhaps no better mode can be found than by comparing the present singer with his past reputation.

The qualities upon which Tamberlik’s fame rest comprise nearly every requisite of a great artist. These requisites are briefly stated—a profound knowledge of the theory and art of music, elevation of style, a pure and faultless intonation, dramatic talent sufficient to embody the heroic character and to express the highest passions, a fine stage presence, a clear articulation and finally a voice flexible and even and under perfect command. These embodied make the great artist. That Tamberlik has possessed them all at one time in his career is not to be gainsaid, for the history of the lyric stage absolutely affirms it that he still has them all it would be folly to assert. His face, bearing, and action are as fine as ever; his delivery of recitation is in the grand manner; his action is noble and manly, and in tragic situations altogether fine; he is still true in his intonation, but his voice is very uneven. It is still sympathetic in quality, but it has greatly deteriorated in quantity, and some of the middle notes are almost gone. The higher notes remain the best, but we doubt if even these have the old ring in them, and the command that he should have over them he no longer possesses.

The name and fame of Tamberlik have always been more or less associated with the great effects that he has produced with certain exceptional notes, chiefly the high Do and Do sharp, delivered with the natural and not the falsetto voice, and erroneously called the ut de poitrine, or chest Do. Erroneously, because the vocal cords are no more found in the chest than in the legs, and proceed no more from the lungs than the notes of an organ do from the bellows. If these exceptional notes were all that Tamberlik had had to depend upon he would by no means have gained his present rank in the world of art, for one note, however magnificent, no more makes a singer than one swallow does the summer. In fact, the possession of these phenomenal powers are a very doubtful advantage to any artist. Foolish and uncritical audiences are led away by them and scream their bravos of delight; the louder the artist sings the louder is the applause. Finally, to catch this momentary breath of popular favor every thing is sacrificed to the power of the upper notes, the lower ones lose their power, the middle ones grow tremulous and uncertain, and the evenness of thew hole voice, which is a matter of the very first importance, is gone. It is not for the three or four upper notes that a composer writes, but for the octave that lies below them. In these middle notes almost everything that is worth having in music is to be found; upon them the great arias are gounded [sic]—the singer who, straining his voice for exceptional effects, has lost the full control of these, has flung away the best part of his gifts.

We will not hazard the assertion that it is by the too habitual use of these effects that Tamberlik has increased the tremolo which is so disagreeable in the tones of the middle register, and has impaired the evenness and symmetry of a noble voice, but that the result has been brought about either by that means or some other is not to be denied. And yet in him we may still find the better part of a great artist.

Madame Lucca has been resting her voice in the peaceful retirement of a country village during the summer, and she shows the good results of this in a freshness and beauty and wealth of tone such as she has never before exhibited. There are few artists who more readily captivate the public. The sincerity of her acting, the breadth of her style, and the abundance of her vocal resources are sure to arouse earnest enthusiasm. And the audience of last evening was an especially enthusiastic one, and both Madame Lucca and Signor Tamberlik were the recipients of its lavish favors, both of flowers and applause.

Signor Mari, the new basso, is a very competent singer, with a voice robust and pleasant, though not always in perfect tune.

The opera was Donizetti’s shallow and noisy one, ‘Poliuto,’—a work in which he signally failed to give a proper setting to one of the grandest themes.”

14)

Review: New York Herald, 07 October 1873, 7.

“The opening of Mr. Maretzek’s season of Italian opera at the Grand Opera House last night was very encouraging to the manager and the principal artists, the immense theatre was full, and had the night been fair it would have been full to suffocation. In addition to this, the audience was fervidly enthusiastic. Mme. Lucca especially was greeted throughout the performance with such spontaneous and overwhelming outbursts of applause as almost to mark a new era in the American welcome to a great singer. From the moment she appeared till the curtain fell triumph followed triumph, and in response to this heartiness of appreciation the prima donna fairly outdid herself. She was never in better voice since she came to this city, and she never achieved a more deserved or a more complete victory. Signor Tamberlik appeared for the first time in this country. Great anxiety was evinced to hear him, on account of his great fame as an artist and his wonderful triumphs throughout a long and successful career. We shall speak of him as an artist and singer simply and conscientiously, not sparing him wherein he was weak; for, though he was long in coming to us, he comes now challenging criticism as when he was in the heyday of his greatness.

The restless, never satisfied spirit of Donizetti, who was at all times so full of musical ideas that he could dash off an opera in thirty hours, complete in all its details, is shown to disadvantage in the work that was performed last night at the Grand Opera House. Not content with the tuneful numbers of ‘I Martiri’ in its original dress, he changed and remodelled [sic] the music in some essential particulars, without improving it. This latter version of the opera, under the title of ‘Il Poliuto,’ was the work in which Lucca reappeared, and in which Tamberlik made his American début. In the old score there is no overture, but in the later one there is a mélange of some of the principal melodies of the opera, with the chorus of the Christians, ‘Inflamma quest’ Alma o Spirito di Dio’ brought in. All of this is given before the curtain goes up, and is not worthy of Donizetti. The opera then begins with a cleverly written march, with chorus, in which the peculiar dramatic effects which characterize the works of this composer are shown to advantage. Here we had an opportunity of testing the qualities of the orchestra and male chorus (the latter thirty strong) of the new company. These qualities proved eminently satisfactory, except in the matter of expression. The voices were fresh and resonant and came out with a heartiness and vigor that would be commendable did the composer require it in this particular instance. Were they more subdued and more attentive to the demands of light and shade in this beautiful introduction we might accord them praise in unstinted measure.

The next and most interesting number was the first scene of ‘Poliuto.’ The well known figure (well known to an habitué of the London opera in days gone by), draped in the picturesque Roman costume, of Tamberlik, emerged from the recesses of the Catacombs and was hailed with a torrent of applauding welcome. He substituted for the beautiful aria, ‘D’un alma troppo fervi da tempra,’ which is found in the original score, a melody in the heroic form by Stigelli, which was specially written for him. It is not a change for the better. Here the exact condition of Tamberlik’s voice became at once apparent to the audience. The inability to hold sustained notes and the vibratory tones even in the upper register of the voice, which years ago, in London, used to rouse the audience to an indescribable pitch of enthusiasm, proclaimed a degree of decadence in power that disappointed all who formed high expectations of the once great tenor. Yet the pure Italian school in which he graduated and in which he won distinction was shown in the declamatory, perfect rendering of the recitatives and his gracefulness of manner and ease gave evidence of what he had been. But the voice, the glorious voice of Her Majesty’s Opera was gone and a tremulous, uncertain organ was in its place.

After that florid clarionet solo that precedes the entrance of Pauline (it would be preferable on the oboe or flute), Mme. Lucca appeared, and the house greeted her with an enthusiasm that must have been exceedingly gratifying to the little prima donna. The chorus behind the scenes, in which the melody is sung by Poliuto (a profession of belief in the Christian religion), was sung with rare effect, the agitated, passionate accents of Pauline and the pizzicato accompaniment of the orchestra, towards the close, giving it a degree of color that enhanced its beauty. Then Madame Lucca sung [sic] her first solo, ‘Di qual soave lagrime,’ but she substituted for the popular aria in the original scene an entirely different melody and cabaletta. The aria in ‘I Martiri’ is far preferable to the one sung last night. The long rest enjoyed by the prima donna during the summer has had a most favorable effect, for her voice was in magnificent condition, and its ringing tones had an electric quality that set the audience wild with delight. The next scene was the triumphal entry of the Proconsul, Severus, and Donizetti has never written anything more brilliant than the opening chorus, ‘Tempo di marcia.’ Then the barytone, Signor Mari, made his first appearance in the aria, ‘Di tua belta [sic] de imagine [sic],’ and, as he sung, plena voce, throughout this scene, a quarter of a tone flat, his claims as an artist were speedily disposed of. Much praise must be given to the chorus and orchestra in this scene. The opening duo in the second act was cut, and we were introduced to the exquisite melody of Poliuto, ‘Sfolgoro divino raggio.’ To Signor Tamberlik’s rendering of it we can accord praise in the pure, finished phrasing, but the voice still betrayed its tremulous, uncertain tone.

In the second scene of this act the genius of Mme. Lucca shone with exceptional lustre, when she took up the melody (previously ill treated by the barytone) in the words ‘Qual preghiera al Ciel,’ and when she succeeded Poliuto in the theme of the grand ensemble, one of the most dramatic efforts of Donizetti. She bore away all the honors of this scene, in which the tenor and barytone are supposed to be pre-eminent, and she was called and recalled before the curtain at the close. In the third act the High Priest of Jupiter, represented on this occasion by Signor Reina, had a solo, and, as we have spoken frequently of the terrific effect of this gentleman’s voice, it is only necessary to state here that his lungs have not deteriorated in power. But the feature of the opera, the grand duo between Pauline and Poliuto, became virtually a solo in the magnetic effect of Lucca’s voice. The joyous measures of ‘Il suon dell’arpa angelica’ were flung forth with a degree of passion and fervor by the prima donna with the full volume of her rich, sonorous voice that thrilled the heart of every listener. The effect of Tamberlik’s voice in the ‘Credo in unum Deum,’ before the altar of Jupiter in the preceding act, was the happiest effort he accomplished in the entire opera. It was, indeed, a splendid piece of declamation, and gave a glimpse of what he was in his palmy days. It will be necessary to hear him in some of this best rôles—Manrico, Arnoldo and Othello—to arrive at a full understanding of the nervous vigor and intense dramatic power of his style. Donizetti’s work does not present him in the most favorable light, although he created the title rôle in London. His Manrico will, probably, be the next rôle in which he will appear, and in it he has held his own against Mario and Giuglini, sixteen years ago.”

15)

Review: New York Post, 09 October 1873, 2.

“At a second performance of ‘Poliuto’ at the Grand Opera House last night Tamberlik sang with greater certainty and with as much fervor as on the first night of his appearance. Lucca introduces in this opera a massive aria from ‘Don Sebastian,’ in which she reveals the possession of deep contralto tones such as she will use next when she takes the part of Azucena in ‘Trovatore.’ The baritone Mari last night sang admirably, and the whole performance was most interesting.”

16)

Review: Dwight's Journal of Music, 18 October 1873, 110.

“M. Maretzek began a short operatic season at the Grand Opera House, Oct. 6. The names of Mme. Lucca, Mme. Ilma di Murska Sig. Tamberlik and M. Jamet are sufficient to guarantee some excellent singing; but the manager relies wholly upon these artists, and has engaged no singers fit to support them. The chorus and orchestra are wretched beyond comparison. A.A.C.”

17)

Review: New York Clipper, 18 October 1873, 230.

First review of two on the same page. “Max Maretzek's season of Italian opera was commenced on Oct. 6, at the Grand Opera-house, a theatre far better adapted for the lyric drama than the Academy, not only in regard to its size, but for its stage appointments, by which operas can be better presented in mise en scene than at the Academy. The opening opera was ‘Il Poliuto,’ which was performed with the following strong cast: [lists cast with roles]. The night was a stormy one, but nevertheless there was a full house, the show of opera costumes being an unwonted sight in the Opera-house, which has hitherto been given up to melodrama, rather than to the lyric art. The occasion was noteworthy from the fact that it was the night of the advent of the renowned tenor Tamberlik, who, like Mario, once reigned supreme on the operatic boards; but, like that singer, Tamberlik has seen his best days, and now presents but a shadow of himself as far as voice is concerned. But we would rather hear a pure singer with a half worn-out voice, than a crude, uncultivated singer whose lung power is his only recommendation. Tamberlik was heartily welcomed, and Lucca received quite an enthusiastic greeting. The opera, on the whole, was very well given, and, despite of Tamberlik’s tremolo and the evidence of his lost voice, his fine acting and Lucca’s performances carried the opera through very satisfactorily.”

18)

Review: New York Clipper, 18 October 1873, 230.

Second review of two on the same page. “Max Maretzek's Italian Opera Company began a season at the Grand Opera-house on Monday evening, Oct. 6, when ‘Il Poliuto’ was sung, Signor Enrico Tamberlik making his American debut in the title role. The tenor has evidently passed the zenith of is fame, and we see him in the shadow of his artistic greatness. His inability to hold sustained notes without a trembling of the voice, and the absence of the sacred fire in his chief numbers, with which we are told he used to thrill his audiences, speak ‘trumpet-tongued’ of his declining powers. That he has been a great actor as well as vocalist, we feel convinced, and we regret that he preferred to confine his professional experience chiefly to the European capitals until the freshness of his powers was lost. Pauline Lucca created a furor by her admirable singing and acting of Pauline; and the balance of the cast, including Signor Mari—who made his first appearance in New York—as well as the chorus and orchestra was quite satisfactory.”