Maretzek Italian Opera: Poliuto

Advertises opera as Lucia di Lammermoor.

“Signor Tamberlik sang in opera and concert yesterday at the matinée of ‘Il Poliuto,’ at the Grand Opera house, and at the Church of the Disciples in the evening. On no other occasions since his first appearance in this country did his great talents become so apparent. His rendering of Donizetti’s music was marked with that artistic finish that seem sot be a quality exceedingly scarce on the operatic stage of to-day. Tamberlik is the last of a noble band of singers, who, unhappily, have no other representatives at the present time. In him nature and art seem to have formed a partnership and to have moulded [sic] out of the choicest materials of their vast workshop a consummate singer, and experience has tempered these materials until perfection has been attained. A timid debutant at the time when there lived a race of operatic Titans, of whom afterwards he might say, with Æneas, ‘Quorum magna pars fui,’ he won his way to the highest pinnacle of fame in a single season. Time has not laid its hand so heavily on him as to prevent, at the present day, his hearers from learning what true art means and what nature in proper subjection can do in the lyric world. The principal charm of Tamberlik’s talents is the utter abnegation of self. He represents a rôle so thoroughly that his individuality is for the moment lost in it. Whether he appears in the white robes of the Christian martyr, the doublet of the son of Melchtal, the gorgeous raiment of the Prophet, the princely attire of the Troubadour, the barbaric splendor of the Moor or the sable garments of the Master of Ravenswood, he does not for an instant intrude his individuality upon the audience. His noble voice responds to each expression of emotion or passion as readily to-day as it did twenty years ago. It may be shorn of its pristine electric power, but there is still a leaven of magnetism in its tones. As for his school, it is one to which the young tenors of the day might come an receive valuable lessons. It must be a source of sincere regret to every lover of music that the shortness of the season at the Grand Opera House prevented Signor Tamberlik from appearing in those rôles with which his name will always be identified—Arnoldo, Manrico, Othello, Masaniello and the Prophet. He has been, through circumstances, deprived of the opportunity of showing the public of the metropolis of America the grandeur of his art. What he has done it is now our province to discuss.

The opening aria for the tenor in ‘Poliuto,’ a very effective melody by Stigelli, which was written expressly for Tamberlik, and which mainly depends upon passionate expression and broad phrasing for success, was delivered yesterday in a style that was simply perfect. The bold defiance of the wrath of Rome and the overturning of the altar of Jupiter were delineated with startling power, and the last interview with Paulina was a dramatic as well as musical success. The beautiful aria ‘Sfolgoro divino raggio,’ has never been invested here before with the tenderness and devotional spirit that Tamberlik gave it yesterday. Although this aria and the grand duo in the last act constitute generally salient points for the tenor, yet the completeness of Tamberlik’s art made them only component parts of a faultless impersonation. The smallest recitative received as much attention at his hands. In this opera he had the valuable assistance of Mme. Lucca, of whose Paulina we have already spoken.” Concludes with a review of his concert performance that same day (see separate event entry of 10/18/73: Galaxy Concert: 1st).

“At the matinée of ‘Poliuto’ yesterday, at the Grand Opera House, Mme. Lucca made a genuine success by her singing an aria from ‘Don Sebastian,’ by Donizetti, in the first act. It was substituted for the regular aria in the score of the former opera.”