Strakosch Italian Opera: Il Trovatore

Advertises this performance as a matinee beginning at 1:30pm. Unclear if this was in error or if the time changed.

“A very fine performance of ‘Trovatore’—an opera which never seems to grow old—was given at the Academy of Music last night. Madame Nilsson always sings the music of Leonora with exquisite taste and delicacy, and last night was no exception to the rule. In the last act her ‘Sul’ all’ was an admirable example of finished and artistic vocalization. Campanini, the tenor, was in good voice, and gave, in the ‘Ah si ben mio,’ one of the best specimens of his vocal powers; but in the ‘Di quella pira,’ which followed it, with the customary high C, was the hit of the evening and was sung with unexpected power. Del Puente, the baritone, was encored in ‘Il balen,’ and Miss Cary showed more dramatic fervor than ever before, while her voice retained all its original purity and richness. It was generally conceded that this performance of ‘Trovatore’ was excellent in all respects, and worthy of the best days of our operatic history. The only defect was the flatness of the chorus in the Miserere scene. Among the auditors was Ilma di Murska, the Hungarian prima donna, who is to sing in this opera next week with the Maretzek troupe.”

“‘Il Trovatore’ asserted once more, last evening, its worth as a ‘drawing’ opera. The Academy of Music was crowded by a brilliant audience, and almost every number of the score was redemanded, as if the final chance of hearing it was then afforded the assemblage. The enduring attractiveness of Verdi’s most popular achievement was unquestionably the cause of the large assemblage. But the demonstrations of pleasure which greeted the recital of all the well-worn pieces—and on no occasion we have recently dealt with have these demonstrations been so frequent and so hearty—were the result of an unusually fine performance. Yesterday’s entertainment was conspicuous among those which have occurred since the opening of the season, both by its impressiveness at the climactic passages of the opera, and by the rare symmetry of the representation. Experience has accustomed to us recitals in which a single artist, by sheer might of genius or talent, has made a thousand listeners disregard the mediocrity of the surroundings, but it is only since the outset of the present series of opera nights that we have become used to look for an ensemble, and, what is more essential, to get it. Last evening’s rendering of ‘Il Trovatore’ was faultless. Mme. Nilsson was in admirable voice, Signor Campanini was equally fortunate, Miss Cary and Signor Del Puente were found to be at their best, and the chorus and orchestra labored to discharge their respective duties with a harmony such as frequenters of the Academy were lately well-nigh hopeless of seeing established. This statement of fact makes a lengthened report of the proceedings unnecessary. The interpretation of an opera characterized by perfect effectiveness and smoothness stands in no greater need of a history than, according to the proverb, a nation blessed with perennial happiness. A few notes, therefore, will constitute the record actually required. Mme. Nilsson has sung Leonora before, and while the strong dramatic situations into which the heroine is thrown are given their utmost eloquence by the histrionic skill of the prima donna, the fine airs allotted to her—that is to say, the beautiful andante, ‘Tacea la motte,’ with its florid allegro, ‘Di tale amor,’ in which a D flat in altissimo was taken and flung into the auditorium with immense force, and the exquisite aria, commencing ‘Amor sull’ ali rosee’—as well as the ever fresh and striking concerted parts of the work, were capitally executed. Signor Campanini, as Manrico, made a decided step last evening into the good graces of the public. He was in excellent condition, and his singing and acting were alike unexceptionable. Whatever Signor Campanini does he does with remarkable ease, as well as with absolute surety. Hence quite a new sensation was produced when he sounded, without the slightest apparent effort, a clear high C in ‘Di quella pira,’ and it was some minutes before the performance was allowed to progress. Signor Campanini was called before the curtain four times at the close of this, the third act, and he and Mme. Nilsson were constrained to repeat the ‘Miserere,’ in which, as in the serenade, ‘Deserto sulla terra,’ the delicious tones of the tenor, and his masterly delivery of cantabile, were enjoyed to particular advantage. The Azucena of the night was Miss Annie Louise Cary, whose gifts and intelligence it is not imperative to notice, so thoroughly have they been appreciated since the lady’s début in the concert-room. Signor Del Puente, we have only to say further, personated Il Conte di Luna, and his interpretation of ‘Il balen’ was so expressive and tasteful that its repetition was insisted upon. As implied above, those portions of ‘Il Trovatore’ where the united exertions of Mr. Strakosch’s company were in requisition, had full justice done them. We remember nothing more telling than the concerted piece beginning ‘E deggio, e posso,’ which concludes act the third, and in which the notes of Mme. Nilsson now blended with the tones of the other singers, and now soared above them and rang out in crystalline purity over chorus and band. Summons before the footlights followed the termination of every act.”