Strakosch Italian Opera: Il Trovatore

“Il Trovatore’ was sung at the Academy of Music last evening, and once more asserted its value as a ‘drawing’ opera by bringing together a large and fashionable concourse. Whether there is occasion to rejoice that the comparatively crude efforts of Verdi are prized by the public beyond the finished work of after years, is doubtful; but everybody interested in the prospects, distant though they are, of regular opera seasons in this country, must be satisfied that there are a few scores in the répertoire that can be interpreted with something more than artistic success. Yesterday’s recital surely satisfied all concerned, for it proved both attractive and interesting. The principal parts were in excellent hands, and the ensemble of the entertainment was perfect. The niceties of Mme. Nilsson’s style have not, however, as much scope in ‘Il Trovatore’ as in, for instance, ‘Lucia’ and ‘La Traviata.’ A vigorous prima donna dramatica, whose delivery would be devoid of the numerous and delicate nuances of Mme. Nilsson’s singing, would be quite as impressive, and there are so few purely sentimental passages in ‘Il Trovatore’ that the refined execution of the Swedish songstress would not be missed by an average audience. But these remarks do not imply that Mme. Nilsson’s portrayal of Leonora is an ineffective one, while they must be taken to signify that whenever the music permitted it the finish of her work was as clear as ever. The opening cabaletta, (‘Tacea la notte’) with its cabaletta; and the air, ‘D’amor sull’ ali rosee,’afforded the artist two distinct opportunities for the assertion of the skill and taste as a vocalist we have time and again been glad to pay tribute to; and the finale of the second act revealed simultaneously the expressiveness of her song and the force of her acting. Miss Cary, as heretofore, was Azucena, and approved herself once more a very intelligent and graceful, and above all, a very melodious representative of the personage. Signor Campanini as Manrico, produced, in spite of a steady struggle against encroaching hoarseness, the wonted effect, the duet with Miss Cary, including ‘Mal reggendo.’ Securing for both performers an enthusiastic recall, and ‘Di quella pira’ being declared by the applause as stirring as of old. It only remains to add that Signor Del Puente portrayed Di Luna, and that he rendered ‘Il balen’ so well that its repetition was insisted upon.”

“This fascinating opera enjoys eternal youth. It is just as popular and as delightful to-day as when it was first produced in this city nearly a score of years ago. Last night it attracted to the Academy of Music a large and brilliant audience, which crowded the house in every part. The toilettes were superb. The performance was very fine, though not superlatively so. Campanini sang the andante movement in the third act with charming finish, but his high note in the Di quella pira seemed to be much better appreciated by the audience. In the last act his voice showed signs of hoarseness. Madame Nilsson sang exquisitely throughout the entire opera, and rendered the aria Sul ali with unusual sentiment and fervor. Miss Cary’s rich, round notes were heard to good advantage, and Del Puente, the baritone, won for Il balen the only encore of the evening.”

“Last evening Verdi’s favorite opera, ‘Il Trovatore,’ was repeated by the Strakosch company with unequivocal success. The cast included [see above]. Chorus and orchestra were well balanced and kept in effective relation by the baton of Muzio. Of Mme. Nilsson’s Leonora it is not necessary to speak in detail. It is sufficient to say that it remains one of the chefs d’oeuvre of her répertoire. All her well known triumphs were repeated from ‘Tacea la Notte,’ to the finale, and the clarity of her tones, finish of her vocalization and dramatic force elicited enthusiastically warm plaudits. Miss Cary’s Azucena evinced the determination which this lady has taken to add [illegible] acting to the charms of a full contralto voice in her impersonations. Her success last evening was but second to that of the prima donna. The Manrico of Signor Campanini exhibited this artist in perhaps his best light. The sense of fatigue in his tones shows that he needs a little rest, but otherwise he was well worthy of the applause he received. In the famous ‘Di quella pira’ he aroused himself to a superb effort. It brought down the house and gained repeated recalls on the fall of the curtain. His singing of it was impassioned, true and finished, and the effect on the audience electric. ‘An che la morte’ was given with great delicacy and tenderness. Del Puente’s Count is a conscientious and respectable performance. His singing of ‘Il Balen’ was rewarded with an encore, but without wishing to detract any from the artist’s success, we may suggest that the popularity of the air had a great deal to do with it. The performance throughout was effective, not marred by a single hitch or break down, and those who have seen opera in New York for years past know how much this leaves us to be grateful for. One would imagine that the instruments of a well-trained orchestra should get through ‘Il Trovatore’ almost unaided, so often have they played it; but a smooth performance is, nevertheless, sufficiently rare to be heartily welcomed.”