Di Murska Italian Opera: Lucia di Lammermoor

“Madame Ilma di Murska appeared last night at the Lyceum Theater in a performance of ‘Lucia,’ given as a preliminary to a tour she is about to make through various parts of the country. The representation was directed by Mr. Maretzek, and the prima donna was supported by Vizzani, Mari, and Reyna, upon whose efforts it would be a waste of labor to bestow any criticism. The interest of the evening centered exclusively of course in the Lucia, and the entertainment was nothing more than the exhibition of this one phenomenal artist. In whatever part she assumes, she kindles the same amazement and the same unbounded enthusiasm breaks out from time to time after her most daring achievements. As a dramatic personation her Lucia is nothing. It hardly differs in a single gesture from her Amina or her Astrafiammante, nor indeed can it be said that she gives any distinct coloring to the music, or perceives any difference in sentiment between Mozart and Donizetti or Bellini. Her astonishing vocalization is applied with equal care and grace to all the rôles in which we have yet heard her, and it seems to fit them all as if they had been written for it. The Mad Scene last night was like some elaborate work of the jeweler—sparkling with precious gems, adorned with every elegant and rare device, with fretwork, and crystal flowers, and twining tendrils of the spun gold, and glistening dew drops of diamond, and every conceivable beauty that the most practiced artist could lay upon it. And there was a boundless variety in it too. The resources of Mme. di Murska’s art are apparently inexhaustible.The ornaments which she lavishes upon one phrase are entirely different from the embellishments with which she covers the next, and all through the evening she keeps her audience dazzled and astonished. It may safely be said that no vocalist so perfect in this florid and difficult school has ever visited America. It is a pity that her visit should have been made under such untoward circumstances as have embarrassed her ever since she landed in New-York; but before she returns to Europe she may yet kindle as great a popular excitement here as she has roused in every capital of Europe where she has ever sung.”

“A performance of ‘Lucia di Lammermoor,’ with Mme. Ilma Di Murska as the heroine, was given at the Lyceum Theatre, last evening, as the first of a series of three representations, which will end with the present week. A large audience was in attendance, and much applause was bestowed during the progress of the entertainment. Mme. Di Murska’s personation of Lucia, viewed as a succession of feats of vocalism, is a remarkable effort. The opening aria and cabaletta, and the mad scene, as written by Donizetti, are sufficiently trying, but as changed here and there by inventive maestri familiar with the accomplishments of Mme. Di Murska, they are of unparalleled difficulty of execution. The purity of the music, especially in the passages commencing with ‘Ardon gl’incensi’ and ‘Spargi d’amaro pianto’ suffers, of course, by the attempts at adornment, but a brilliant pyrotechnic effect is attained, and in Mme. Di Murska’s exertions, this is the main point. Mme. Di Murska is not ill at ease on the stage, nor does she lack experience as an actress; her picture of Lucia, however, would scarcely be worth mentioning were it not for the marvelous exhibitons of vocal agility for which it is a convenient framework. These exhibitions were, last night, as striking as when listened to on the occasion of the artist’s début in the United States. Runs of faultless precision and definition, sustained high notes of rare quality, and surety in the most perilous intervals were as plentiful in Mme. Di Murska’s portrayal of Lucia as the fabled leaves in Vallombrosa. Dramatically, the performance was unimpressive; as a display of bravura singing, it was a thing to be remembered. That it will not easily pass out of mind is hardly to be doubted, and that its exceptional character was appreciated was proven by liberal plaudits. Mme. Di Murska was called before the curtain at the end of the first act, and the scène de folie was interrupted again and again by demonstrations of pleasure. The lady’s greeting, be it noted, was very cordial. In other respects the representation was gratifying. We like Signor Vizzani’s voice, and he frequently uses it with considerable taste. He did so, at all events, in ‘Fra poco,’ and was rewarded for an unusually impassioned delivery of that well-worn piece, by hearty applause. Signor Mari moderated his wonted excess of zeal, which Talleyrand would have reproved even more in an opera-singer than in a diplomatist, and was an acceptable representative of Enrico. Signor Testa and Signor Reyna found favor in the remaining rôles, and, thanks to the united endeavors of everybody concerned, the sestet was very finely done, and as a consequence redemanded.Both orchestra and chorus were under thorough control of Mr. Maretzek’s batôn, Mrs. Maretzek being at her post as harpist, and supplying the prelude to Lucia’s initial air in a style we wish were more widely emulated.”

“The first of three performances of Italian opera, under the auspices of Madame di Murska, took place last evening at the Lyceum Theatre before a numerous and interested audience.

The company singing with Madame di Murska includes among its members Signor Vizzani as tenor, and Signori Mari and Reyna as baritone and bass, and is under the direction of Max Maretzek. They are soon to undertake a Western tour. 

We can hardly say that the company is either very complete as a whole or very strong in any of its parts, except perhaps in the possession of so accomplished a prima donna as Madame di Murska. Such operas, however, as ‘Lucia’ it can present with a fair degree of merit, and this was done last evening. We have heretofore referred, and at sufficient length, to the points that distinguish Madame di Murska’s conception and execution of the character of Lucia—her flexibility of voice, brilliant execution of bravura passages, and graceful if somewhat mechanical and studied action. The celebrated sextet, which, in the estimation of most hearers is the culminating point of interest of the opera, was sung with excellent effect.”

“Mr. Maretzek occupied his seat at the conductor’s place, at the Lyceum last night, and wielded his baton with the ease of a veteran maestro. A large and highly interested audience greeted him with cordiality, and on the stage a fair operatic troupe attended his behests. Mlle. Di Murska was the heroine of the occasion. She sang the part of Lucia with all the skill and brilliancy for which her vocalization is so noted. Her staccato notes and sotto voce passages awakened the hearty enthusiasm of her listeners, and the bright and cheerful auditorium of the Lyceum echoed with cheers and bravos. Di Murska, who has many of the best elements of a phenomenal singer, has evidently won a great popularity in New York. Last night she was supported by the tenor Vizzani and the baritone Mari, who sang with average ability. Signor Reyna, the Raymond of the evening, gave to his air in the last act much better treatment than it usually receives. The chorus and orchestra were but second-rate. When Mlle. Di Murska is heard next April in the Academy of Music, it will be, we trust, with better surroundings than those of last night.”

“This remarkable bravura singer, who unites the electric qualities of the voices of Bosio and Frezzolini with the sympathetic expression of Lagrange and Lucca, made her first appearance since her return from Havana, before the New York public last night. Notwithstanding the abundant feast of opera which the public are being regaled with this season and the meagre announcements made of this extremely short season—two nights and a matinée—there was a very good audience present to welcome back the prima donna. Her impersonation of Lucia resembles to a great extent that of Bosio, with a greater wealth of fluid ornamentation in the music than even the famous coloratura singer gave it. Her extraordinary voice—extraordinary on account of its compass, flexibility, agility in execution and electrical effect in its very tone—was in its best condition, and from the opening aria, ‘Regnava nel Silenzio,’ to the close of the mad scene in the third act, Mlle. Di Murska enchained the attention of the audience. In every aria she introduced variations and cadenzas of the most difficult and yet appropriate character, the execution of which in the hands of any other prima donna would be anything but successful. Ease of execution, brilliancy of tone and absolute correctness mark the voice of Di Murska above that of her contemporaries, Nilsson and Patti alone excepted. It is only to be regretted that an artist of such surpassing ability should never have had the opportunity of appearing in Italian opera at the Academy of Music, the recognized home of opera in this city. Signor Vizzani sung the music of Edgardo very commendably, and seems to have gained to a certain extent in voice and acting during his absence from New York. Messrs. Mari and Reina, the Ashton and Raymond, are well known to the public of this city as being the fortunate possessors of voice of the most terrific kind in regard to quantity of tone. Their numerous admirers may be assured of the fact that their voices have lost nothing in power since they last appeared here. Signor Testa made a great deal more of the rôle of Arthur than such a small part generally receives on the American boards. The chorus and orchestra were under the direction of Mr. Maretzek.”