Articles providing general reviews of the Strakosch Italian Opera Company

“Opera in New York.

Our own musical season having recently begun (for not even two or three swallows make a summer), we place our New York correspondence in the foreground; there they have two operatic courses in full progress, if nothing else as yet of higher interest.

New York, Oct. 11—The fall season of Italian Opera at the Academy of Music began on Tuesday evening, Sept. 30. The opera selected by Mr. Strakosch for the opening night was one in which his great prima donna, Nilsson, has always appeared to particular advantage, namely La Traviata of Verdi. The audience was a large one, but, it seemed not as brilliant as in the seasons past; a fact readily accounted for by the stringency in the money-market. If the house wore a sombre [sic] look there was, at least, no lack of enthusiasm in the reception which was given Mme. Nilsson, and she must have felt that America is no longer a foreign land to her since she abides in the hearts of so many here.

It was indeed a privilege to hear again that wonderful voice, so perfectly clear and pure in every note—those tones with such a depth of feeling and purpose in them, that no words are needed to translate them.

There are singers who equal, perhaps those who excel her in feats of vocalization; but in the quality of her voice, in her artistic training, in the attractive simplicity and grace of her appearance, and the excellence of her acting, she stands alone, above all others.

The part of Alfredo was taken by M. Capoul, whose singing was very much the same as ever. He rendered the music which fell to his part with more care, or less pre-occupation than usual, and received his share of the applause. His acting was in some respects very bad, but that was inseparable from his style of singing.

I am glad to say the orchestra, this season, under Sig. Muzio, is far better than it formerly was; and, although the musicians and the singers did not always agree, it was usually the latter who were at fault. Such imperfections, however, are almost unavoidable in a first representation.

The chorus was of course ---- ---- (please select any number of adjectives to express general demoralization, confusion and wretchedness). Of the scenery I can speak only with that respect which I always pay to age.

On Wednesday, Oct. 1, there was a performance of Lucrezia, with Sig. Campanini, the new tenor, in the rôle of Gennaro. This singer made a decided impression, and has won favorable opinions from most of the critics here. His voice is very sympathetic and, in the middle register, of singular richness and beauty; his upper notes, however, are less pleasing and not always true.

Miss Alice Maresi, a débutante, took the part of Lucrezia. She is an agreeable singer, but unfitted for high tragedy.

Miss Cary, who always pleases, took the role of Maffeo Orsini; and Sig. Nanetti, a new basso, made an acceptable Alfonso.

We have also had performances of Lucia, Faust, Trovatore and La Favorita. M. Maurel, the new baritone, is a fair but not a remarkable singer.” Concludes with a short paragraph about the Maretzek troupe and is signed “A.A.C.”

This long article is divided into several sections, each one of which takes a singer’s name as its header. It mostly quotes reviews from other publications. What is provided here are those reviews that are not already entered in the event entries:

Sig. Campanini.

(From the Arcadian). [No date.]

The great interest of the evening centered in Sig. Campanini, who may be said to fully justify the reputation acquired in England. His voice is of pure tenor quality, perfectly even and regular throughout the entire compass, and every note is sung form the chest, without a suspicion of throatiness or use of the head voice. Indeed, so easily does he take his high notes, and so thoroughly in keeping are they with the lower tones, that one hardly realizes that he is singing A natural and B flat with such slight effort. The lower notes have nothing of the baritone quality, and we should doubt whether his voice extends far in the lower register; but of this there was scarcely any opportunity of judging. Campanini’s style leaves little to be desired, his phrasing is natural and in good taste, there is no gasping for breath, and he does not use the vibrato. Throughout the entire opera he sang well, not saving himself for any special points, but evidently doing his best in every number. We can safely say that no young tenor at present on the Italian stage can at all compare with him. Those persons, however, who go to hear Campanini, expecting to listen to the power of Mongini or Wachtel, or to be charmed with the liquid sweetness of poor Giuglini, will be disappointed. Great power he has not, nor has his voice the melting tenderness we have heard in some of the tenors of the past; but in its evenness and natural method of production it stands now quite alone. Campanini’s acting is spirited and graceful, and in the death scene he exhibited no little tragic force. His appearance is decidedly in his favor, though his stature scarcely reaches the middle height.”

[Sections on Tamberlik and di Murska, which quote reviews that can be found in the individual event entries.]