Article on the strengths and weaknesses of the current Italian opera season

“The progress of the Italian opera season affords us much ground for encouragement and some reasons for complaint. During the last fortnight we had two companies singing at different houses on the same night. The result was, perhaps to do injury to each other and to operatic music; but these companies give us an opportunity for comparing the two systems of producing opera—by a brilliant ‘star’ and a wretched cast, and by an evenly balanced, meritorious and almost perfect combination. Mr. Maretzek clung to the former plan, and he never gave us more than two artists in any one opera. For instance, he produced ‘Il Poliuto’ with Tamberlik and Lucca, ‘La Sonnambula’ with Di Murska, and ‘Lucia di Lammermoor’ with Tamberlik and Di Murska. These performances only served to advertise the few great artists he is able to present; but at the very moment when the public was ready to respond and he should have been able to present Di Murska in ‘The Magic Flute,’ Lucca in ‘Der Freischütz,’ and Tamberlik in ‘William Tell’ and ‘Le Prophète,’ he announced the sudden termination of his season, did his great tenor the injustice of not allowing him to be heard in New York in those rôles which are really in Tamberlik’s répertoire, and succeeded only in giving Di Murska a single opportunity to display her exceptional gifts as ‘The Queen of Night’ in Mozart’s fairy work. The production of ‘The Magic Flute’ was the only real effort of Mr. Maretzek to produce opera; and simply because it was not a work worn threadbare by constant repetition and presented some promise in certain parts of the cast it drew together an audience unexampled in numbers and enthusiasm. There is a lesson in this which must not be overlooked in the future, since it proves that good artists can bring together a vast multitude to hear works not too often rendered in New York, even though the operatic management is burdened by the feeble system to which Mr. Maretzek clings.

In the magnificent company at the Academy we have an excellent illustration of the newer and better system of presenting Italian opera—the system upon which we shall have to depend if we wish to make it a permanent institution in New York. Every work, so far, produced at the Academy of Music this season has been presented with a strong and efficient cast, an excellent chorus and a well[-]balanced orchestra. With the production of ‘Don Giovanni’ on Wednesday evening the height of general excellence will be reached, for we believe this great work will be given as it was never given before in this city. But so far Mr. Strakosch has only accomplished two things—the successful and almost separate debuts of his artists and the demonstration of the fact that they are capable of performing the most difficult works. He has produced no new works, and with the exception of ‘Ernani’ has not gone out of the beaten track in the presentation of old ones. That most of these works are favorites is no excuse for their constant repetition. Even an anchorite desires some variety in his food. Our managers have constant proofs that the music-loving public also desire variety. A work which has the slightest claim to novelty is sure to draw a full house. ‘The Magic Flute’ on Thursday night filled the Grand opera house to overflowing, while the repetition of the ‘Sonnambula’ on the following evening betrayed a beggarly array of empty benches. Every seat at the Academy was filled on Friday night to hear ‘Ernani,’ and the pleasure of Maurel’s triumph was greatly enhanced by the fact that it was not achieved in one of the threadbare rôles of the New York répertoire. It is not to be expected that Italian opera can be supported in this city with the production not only of the same works year after year, but with two or three repetitions of each every season. Mr. Strakosch started well in giving us most of the old favorites in rapid succession. It is only now that he is beginning to repeat them that we begin to complain. We want novelties, if they are only novelties like ‘Ernani,’ and he will consult his own interests if he gives us new works as well as old. ‘Aïda’ and ‘Lohengrin’ are both promised for this season. When will the promise be redeemed? We hope speedily, because it is of vital importance to this city that the opera season at the Academy shall be a great success. Feeble management destroyed the Maretzek season at the Grand Opera House, and the promise of three weeks of opera was only partially redeemed. Only a like feebleness can destroy the Strakosch season at the Academy. The company at the latter house is the best which has been heard in New York for years. Its representations afford us examples of that perfection in ensemble, chorus and orchestra, for which the Herald has long contended. If, besides all these, the works produced meet the wants and wishes of the public the season will become the most brilliant, in every way, which the New World has ever known.

Great as is the work depending upon the manager, the duty of the public, if possible, is even greater. Mr. Strakosch has demonstrated his ability to give opera in an entirely acceptable manner. From what we have seen of his efforts so far we are persuaded that he is disposed to give the public what is wanted if the public responds with proper liberality. The cast of ‘Don Giovanni,’ which includes Nilsson, Torriani, Maresi, Campanini, Maurel, Nannetti, Scolara and Coletti, is perhaps the strongest the opera has ever had in this country. Besides Verdi’s ‘Aïda’—upon the speedy production of which we are disposed to insist—the ‘Huguenots’ and ‘William Tell’ are in preparation. Other great works will also be produced; but it must not be expected that the manager can do this at his own expense. Three weeks of the season have already expired, but so far the opera has been a greater artistic than financial success. Both are necessary if we would make opera a permanent institution in New York. Should we allow the present season to fail it will prove a disaster that will be felt for years. We have a good company—a company excellent in every artistic sense, and it is our duty to support it manfully, that we may have like companies in the future. This fact is one which we desire especially to impress upon our readers. The Academy of Music ought to be crowded every night. The performances are of the highest order—better, we believe, than even in Paris—and crowded houses can be the only adequate recompense. It may not be a very ästhetic view of the matter, but the New York public must remember that they must make opera pay if they would have opera.”