Strakosch Italian Opera: Ernani

Advertises Lucrezia Borgia.

Advertises Lucrezia Borgia.

“The recent performance of this opera…was duly noticed in this place, and our recollection of it warrants us in commending the recital as one of the finest of the season.”

“Grand Chorus of 60. Grand Orchestra of 50.”

“The second performance of ‘Ernani’ at the Academy of Music last night was marked by all the finish and excellence which characterized the previous representation of the opera. As before, Maurel was the star of the evening, singing with the most charming taste and finish. His first aria, Da quel di, was given with delicacy and expression, and the graceful love song which closes the second act was received with the warmest applause. In the opening scene of the third act M. Maurel delivered the stately recitative in good style, and gave the succeeding aria with a tenderness which, in accordance with the sentiment of the music, soon merged into grandeur. The finale to the act had to be repeated. This was largely owing to the careful singing of Torriani, who gave much satisfaction last night.

Campanini sang with good judgment, and in the last set was especially admirable; yet he seemed to awaken no enthusiasm. Oddly enough, in this city a man may sing well an entire rôle—replete with vocal difficulties, and demanding rare natural gifts as well as carefully acquired culture—and yet awaken not a tenth part of the applause which one high note screamed out at the top of his voice would secure him.”

“The complete and impressive performance of ‘Ernani’ already adverted to in this place was repeated at the Academy of Music, last evening, with results akin to those attained by the first representation. In no opera given this season has the distribution of parts been more evenly balanced, and on no occasion have the strength and discipline of the orchestral and choral departments of Mr. Strakosch’s enterprise had more eloquent assertion. Yesterday’s entertainment does not require a lengthened review. All that Signor Campanini does is done with facility and finish, and to every bar of his rôles he lends the charm of one of the sweetest, most flowing, and truest tenor voices to be listened to. Signor Nannetti, who personated Silva to Signor Campanin’'s Ernani, possesses in his youth, his fine tones, and his intelligence as a comedian as many recommendations to favor. M. Maurel—Carlo Quinto—has been proven a consummate artist by the two characters he has portrayed, and Mlle. Torriani—Elvira—has shown herself worth of hearty praise by efforts creditable alike in respect of her talent as a vocalist and actress. The effect wrought yesterday by the achievements of these performers only needs a brief record. The grand air of Elvira—'Ernani, involami'—was recited by Mlle. Torriani with much expressiveness and brilliancy, and was heartily applauded; and the lady's important share in the concerted music of the opera was borne without faltering until the highly dramatic close of the story. Signor Campanini afforded particular pleasure by the delicate execution of the air at the outset of the first act, (‘Come rugiada,’) and by his touching delivery of the last appeal to Silva, commencing with ‘Solingo, errante;’ while his forcible rendering of his lines in the duet in the second act, and his powerful singing in the finale of the third, quite excited the audience. ‘Infelice, e tu credevi’ was Signor Nannetti’s only solo, and he interpreted it with sentiment and taste. And M. Maurel, to whose labors we last week devoted most of our space, renewed the impression of his earliest appearance as Carlo Quinto by the perfection of his art as a singer and actor. Loud applause attended, last evening, the arioso ‘Meco vieni’ in which Carlo Quinto tempts Elvira with an ill-success not easily explained when the words come from the lips of so kingly a being as M. Maurel; and the baritone’s splendid phrasing of the grand scene at the tomb, culminating in the finale of the third act, was accompanied by similar demonstrations of admiration, the finale by the way, being repeated in its entirety.”

“‘Ernani’ was repeated at the Academy of Music last evening, the large audience which witnessed it was a significant proof of the appreciation of the New York public of Mr. Strakosch’s efforts to present a good ensemble rather than a single star. Maurel made even more a signal success than on the first representation, and Campanini in the title rôle was such an improvement on his first impersonation that few could recognize the energetic, expressive tenor of last evening in the listless representative of the same rôle a few nights ago. The other rôles were about the same as before.”

“The repetition of ‘Ernani,’ at the Academy of Music, on Friday evening, did not bring together an audience altogether equal to the merits of the occasion. Yet this is, as a whole, one of the most brilliant representations of the season, Torriani and Campanini acquitting themselves well and Maurel finding his best rôle in King Charles. Is it, indeed, the fashion to go to the opera only on Nilsson nights? If our society people have adopted any such rule they will make opera in the future next to impossible. The general excellence of the representation should be the only rule among opera goers.”