Strakosch Italian Opera: Ernani

“The revival to-night of ‘Ernani’ at the Academy of Music, for Torriani, may be considered the debut of that charming young singer, as her previous appearances were simply incidental. She will be supported by Campnini, Maurel and Nannetti.”

“Powerful Chorus of sixty. Grand Orchestra of fifty.” Multiple cards on this page, one specifically praising Torriani.

“‘Ernani,’ the opera to which Verdi gave the first fruits of his genius and into which he put so much fire and passion and so much good and bad writing, was revived last evening at the Academy. The representation was an exceedingly smooth and symmetrical one. Even the turbulent unison passages on which the composer relied so much for rather cheap effects, were, under Muzio’s skilful [sic] baton, toned down so as to appear at their best.

The honors of the evening were clearly taken by Signor Maurel, who in the rôle of Don Carlos found for the first time music adequate to his powers. His singing throughout the opera was admirable, and in the famous finale of the third act, ‘O, Sommo Carlo,’ his efforts combined with those of Mlle. Torriani and Signor Campanini, and were so stirring that the orchestra, most of whom had disappeared under the stage at the fall of the curtain, were recalled with acclamation, and a repetition of the entire finale was given, with other surroundings, however, for in the meantime the scene had been changed for the ensuing act.

This heartiness accompanied the representation throughout. The capital manner to which all the subordinate rôles were filled shows that the manager has it in his power, when he shall see fit to do so, to produce some large and find work in a complete manner. His artists have one merit for which no praise can be too great—they all sing in time, even the baritones and basses.

Campanini was not in specially [sic] good voice, and apparently did not enter with any fervor into the spirit of his part. Mlle. Torriani sang, as usual, like one thoroughly well taught in a good school, but scarcely yet fully emancipated from the scholar’s ways. She lacks as yet spontaneity and abandonment to the dramatic requirements of the characters she assumes. She is, however, a most meritorious artiste, and a better Elvira than we have had here in years. The house, although it was not a Nilsson night, was crowded, and certainly could hardly have been under any circumstances more enthusiastic.”

Very difficult to read. Begins with a paragraph that wonders why Ernani does not enjoy more popularity.

“Verdi’s opera of Ernani, which is to the average opera-goer, one of the most familiar of all lyrical works, was successfully revived at the Academy of Music, last night, the cast including several features of merit. Mlle. Ostava Torriani, who has already sung in ‘Lucia,’ and as Filina, in ‘Mignon,’ was the Elvira, and interpreted the music with care and artistic taste. Her opening aria, the well-known Ernani involami, was sung as it was written, none of the low notes being shirked, as is often the case. The range of the area [sic] (from C above to B flat below the staff) demands a voice of good compass, and Torriani was equal to the demand. Indeed, her performance throughout, if not as highly dramatic as that of other Elviras we have had, was more than satisfactory, and gives the new prima donna an honorable position in her fascinating though arduous profession.

Campanini as Ernani sang with skill and finish. His phrasing was neat, the few alterations he made in the text were in good taste, and his voice, always smooth, round and rich, never once betrayed him. There were intelligence and judgment both in the singing and acting of Campanini last night, but a greater infusion of dramatic fire would add to the brilliancy of is performance. The Silva of Nannetti was only fair.

Undoubtedly the hit of the evening was made by Maurel, who gave us the best Carlo V. we have had since the days of Badiali. To come nearer to the present era we would say that no such baritone singing has been heard in New York since Santley left us. His rendering of the first melody—the tender strain in which Carlos [sic] tells Elvira of his love—was sufficient to secure his success, and as the opera proceeded he rose with the situations until he made his culminating triumphs in the superb air opening the third act, and in the famous concerted piece closing that act. The applause was so persistent that the musicians were obliged to resume their places in the orchestra, the curtain was raised, and the favorite finale was repeated.

Orchestra and chorus were excellent last night, and there was a finish and smoothness in the entire performance which were most enjoyable. This sense of completeness is most noticeable at the Strakosch opera, and is doing much to make the present season one worthy of a high place in our operatic annals.”

“An admirable representation of Verdi’s ‘Ernani’ was given at the Academy of Music last evening. It was conspicuous not only for its general excellence, but for a performance which can fairly be considered the most impressive of the season. The symmetry of the recital was the result of the assumption of all the important characters by thorough artists, and of the faultless work of the orchestra and chorus; the feature which distinguished it from the numerous evidences already gotten of the worth of Mr. Strakosch’s ensemble was the impersonation of Carlo Quinto by M. Maurel. M. Maurel’s co-operation in ‘Faust’ was too limited to at once establish him, in the opinion of the public, as the great artist he can now be held. But after his share in the proceedings of yesterday not the slightest doubt can exist as to the rank he is entitled to, here and abroad. His Carlo Quinto was a memorable effort. Beauty of voice, perfection of method, exquisite taste in phrasing, a stage-presence handsome and commanding, and a complete mastery of the actor’s art were its chief elements. It was literally a flawless achievement, and, shapely as it was, its ‘points’ were sufficiently salient to produce those outbursts of satisfaction which, unhappily, more frequently follow tricks than proofs of genuine talent. The praise we are impelled thus to bestow upon M. Maurel’s labors, last night, may seem enthusiastic. It is, however, but the gentleman’s deserts. From his first scene with Elvira until the close of the third act, the baritone showed himself a singer and an actor the like of whom has not been listened to, in this country, in the recollection of the present generation. A single passage of recitative made clear M. Maurel’s merit to the connaisseur [sic], and once the brief soliloquy in which the monarch declares his love for the bride of Silva delivered, it was felt that steady attention to every portion of the performer’s task could have but the one gratifying effect. In a performance such as that of M. Maurel it is almost unjust to single out certain parts as exacting particular commendation. Throughout the opera the baritone gave every word of the text and every note of the music its utmost expressiveness and significance, and, although M. Maurel is very young—scarcely twenty-seven, we believe—he displayed from the beginning to the end of the evening, he [sic] ease of a veteran. Were the space at our disposal, we would gladly review, step by step, the rehearsal we must dismiss with laconic notice. We should endeavor to describe the contrasts in which it abounded, and to depict the skill with which, vocally and histrionically, the singer illustrated the passion of the King for Elvira, the wrath of the rejected suitor, the suppressed but terrible anger of the prince when Silva refuses to yield up his guest, and the grand aspirations of the chosen successor to the throne. But the pressure upon us forbids the attempt for the moment. The assemblage last night broke out in applause during M. Maurel’s first number in the first act, in which he speaks to Elvira of their earliest meeting; it interrupted by a like demonstration the interview with Silva, wherein Carlo Quinto constrains the lord of the castle to choose between death or the dishonor attendant upon a violation of the laws of hospitality; it marked by ill-suppressed bravos the scene at the tomb, which was followed by an unanimous recall, and insisted upon a second rendering of the splendid finale of the same act—the third—the concerted music, from the line, ‘O, sommo Carlo,’ being done anew in deference to plaudits, which brought the orchestra back to their seats after the curtain had fallen. We have dwelt at length upon M. Maurel’s success to the exclusion of other topics connected with last night’s entertainment, not because of the slight proportion borne by the exertions of the other members of Mr. Strakosch’s troupe to his own, but because yesterday’s representation was, in reality, the occasion of the baritone’s début, and because it was the first to enlighten many spectators as to the gifts and acquirements of the new comer. We can only add to the foregoing record, that although Signor Campanini was not in quite as good condition as usual, he sang with infinite charm the music allotted to Ernani, and twice awoke enthusiasm—especially in the finale of the third act—by evidence that his tones are powerful as well as sweet; that Signor Nannetti filled with discretion and impressiveness the rôle of Silva, and that Signora Ostava Torriani, as Elvira, used her pleasant and flexible voice with much intelligence and skill. As already implied, the chorus and orchestra, efficient as they were admitted to be from the outset of the season, were, if anything, more precise and earnest than ever. A better rendering of ‘Ernani’ could not be wished.”

“Mr. Strakosch made a departure last night from the beaten track, which has been pressed down for many seasons past to such an extent that novelty has become a wonder in opera. Of all Verdi’s works[,] ‘Ernani,’ perhaps, engages the largest share of attention on account of the magnificent model on which it is based, the drama of Victor Hugo’s celebrated work, so long proscribed in Paris for political reasons. The history of this opera is full of interest. Represented for the first time at La Fenice, Naples, 1843, with the following cast:—Elvira, Mme. Lowe; Ernani, Signor Guasco; Don Carlos, Signor Superchi; Silva, Signor Selva, it became at once a grand success, despite the weakness of the cast. Since then it has been one of the best of Verdi’s operas to test the calibre [sic] of a company. We have seen Bosio, Graziani and Marini in it at Covent Garden, and in this country Elvira, Ernani, Silva and Carlo have been represented by the greatest artists. At Castle Garden and Niblo’s, Steffanone, Bettini, Badiali and Marini were pitted against Tedesco, Salvi, Benevento and Marini (the great basso played alternately at each house). Later came Lorini, Whiting, Fabbri, Medori, Zucchi and Agatha States in the rôle of the prima donna; and in the other parts we have had Stigelli, Mazzoleni, Ferri, Bellini, Amodio and Biachi. The Germans are fond of this opera, a high tribute to Verdi, as it has been a standard work in the repertoire of the Hofopernhaus at Vienna.

The performance last evening was distinguished more for its perfection of ensemble than any undue prominence on the part of any of the artists who appeared. We may, however, mention one exception—M. Maurel, who invested the rôle of Carlo Quinto with a musical importance which in itself might be sufficient to insure [sic] the success of any opera, according to the present style of measuring lyric works by individual excellence. The representation of ‘Ernani’ proved one thing contestably. Mr. Strakosch has attained the ultima thule of impresario, the desired point about which we have for years been speaking. He can give an opera in its entirety, with a complete harmony and fitness in every detail. This is the true idea of opera, and is the best calculated to do justice to the composer and to give pleasure to the audience. It is such a rare quality in opera as presented in this city that praise in no niggardly sense is due to Mr. Strakosch for inaugurating it even at this late hour.

The music of ‘Ernani’ never grows dull from beginning to end. Verdi has been charged with sensationalism in music, but he has one great quality, and that is of keeping up the interest in a dramatic situation, no matter how complicated it may be, by his talent in placing such a situation in the most attractive form in a lyric point of view. If he be not the Shakespeare of music (that is Mozart) he is at least the lyric Boucicault. ‘Ernani’ commences with a brilliant chorus, no very grand, but pretty, and the accompaniment is effective. It gave a favorable idea of the conscientious work of Signor Muzio. This conductor has had the good fortune to number among his orchestra such Philharmonic virtuosi as Matzke, Bergner, Pfiffenschneider and others in the string department, and although occasionally there are unfortunate escapades on the part of the wind instruments (when will those tantalizing flutes, oboes, clarionets [sic] and bassoons be brought into reasonable subjection?), yet we must confess that for a half dozen seasons past we have had no such orchestral playing in an orchestra as under the baton of Signor Muzio.

[Lists cast with roles.] The small parts were admirably filled, and the traditional singers from avenue A were not present for a wonder. The feature of the performance, as far as prominence in such a fine cast was admissible, was the barytone, Maurel.

From first to last he was the object for attention. There was nothing particularly kingly about his make up in the character of the great Emperor, but his magnificent voice and his ‘at homeness,’ if we may be allowed to use the expression, compensated for deficiencies in minor details. The glorious quintet of the first act, a success in its ensemble, received its brightest coloring and more impressionable success from the voice of M. Maurel. In the fine music that falls to the part of Carlo Quinto this artist called forth the heartiest applause from the audience, and the management may be proud of such an acquisition to the Nilsson company.

Next to Maurel we may mention Campanini, whose rendering of the title rôle displayed his pure Italian voice and excellent school, qualities, nowadays, alas! so rare; and as Verdi has given in this opera ample opportunities for the tenor to make an effect, Campanini, albeit he was not in his best voice, made many perceptible effects. This young tenor has a fresh, equal voice, and it is something delightful to hear him, after so much meretricious French ornamentation as we have listened to.

Mlle. Toriani [sic] sang the music of Elvira delightfully, but her youth and comparative inexperience detracted somewhat from what we would call an emphatic success. This was apparent in the beginning in the grand but seldom satisfactory aria, ‘Ernani involami.’

Every concert singer of high soprano proclivities and a myriad of amateurs essays this aria, but few can make it a success. Later in the opera Mlle. Torriani made a deeper impression, and her fresh, young voice, so flexible and true, brought applause from the cold audience of the Academy.

Nannetti achieved a genuine triumph. His ‘Infelice’ was delivered with expression and feeling, and the stern old hidalgo could not have a finer representative on the modern boards. The universal opinion last evening in the foyer was that a better representation of ‘Ernani’ has not been given since the Academy of Music was founded. When every detail is attended to, from the cast down to the chorus, there can be nothing short of hearty commendation of the impresario who ventures upon such an experiment. It is rare that a critic cannot pick a flaw in an operatic performance. The first representation of ‘Ernani’ by the Strakosch troupe is an exception. Hence we may look for good things in the future.”