Maretzek Italian Opera: Lucia di Lammermoor

“The present week is announced as the last of the season by the Maretzek management at the Grand Opera House. The feasibility of using that stately edifice for Italian opera will probably not be tested again, although, as the public is finding out the rare lyric attractions now offered there, the place is nightly well filled. [Lists operas scheduled for the week.]

There was a brilliant and enthusiastic performance of ‘Lucia’ at this house last night. Di Murska was in admirable voice and fully renewed her previous triumph in the part. In the aria and cabaletta of the first act, the variations she introduced in the themes, and the cadenzas with which she supplemented them, were marked both by good tones and by exquisite finish of execution. In the duet closing the act the same careful finish was observable.

In the more dramatic and vociferous music of the second act Di Murska has been surpassed by other Lucias who have sung here; but none has ever given with greater effect the florid, melodious music of the mad scene. To the Alfin son tua this prima donna adds a long and elaborate cadenza with thirds for the flute, in which her purity of intonation and easy fluency of execution are both remarkable. In the succeeding air, Spargi d’amaro she creates a great sensation by taking one of the passages in octaves, thus dwelling in fond delight on several of the very highest notes of her register. It is worthy of notice that these altissimo notes are always sweet and agreeable to the ear. They are neither shrieks nor screams (as is often the case) but are pure, genuine musical notes.

Tamberlik is a singer who should be heard with reverent admiration by every young tenor in the city. He is the last of a race of Titans in vocal art. In vocal phrasing, in pronunciation of Italian, in elegant and manly bearing, in impassioned acting he is to-day without a peer on the lyric stage. Yet because this noble artist occasionally drops a note, or is a trifle husky, or shows signs of vocal wear—all scars of honorably fought and won fields—a few silly chatterers in the corridors dare to question his supremacy. Last night in the very first aria in his part—the Sulla tomba in which the Master of Ravenswood tells how he had sworn on his father’s tomb to always cherish an undying hatred towards the family of Lucy—Tamberlik showed his vast superiority. With other tenors of this brief air [illeg.] but a sweet and cloying succession of notes; with Tamberlik it is a little drama of itself, marked by the expression of violent emotions and enhanced by [illeg.] and appropriate musical declamation. In the second act Tamberlik ensured the encore of the sestette, and in the last his O bell’ alma was the most pathetic rendering of the aria ever heard here. The same class of critical pretenders who bawl themselves purple with rapturous enthusiasm over a high C are those who in this masterly performance of Tamberlik’s can pause to point out the husky or feeble note. For ourselves, we can say that Tamberlik as he is to-day is worth a score of younger and fresher tenors. In his singing there is something to study as well as to enjoy.

Signor Mari last night sang better than any time this season, and quite retrieved his reputation. The chorus was resonant and prompt. Mme. Maretzek’s harp solo in the first act was one of the features of the evening, and was promptly and cordially applauded.”

Brief. Partial cast list. “The performance—a very remarkable one in some respects—has already been alluded to in this place.”