Di Murska Italian Opera: Marta

“’Marta’ was done at the Lyceum Theatre yesterday, and Mme. Di Murska sang, besides, the ‘shadow scene’ from ‘Dinorah.’ As Lady Enrichetta, Mme. Di Murska did not impress us deeply; we have had so many first-rate representatives of the well-known personage that a more fluent delivery of the notes no longer satisfies our expectations. In ‘Dinorah,’ en revanche, Mme. Di Murska’s work was perfection, and when the difficulties of the scena are taken into account, it will be admitted that higher praise could scarcely be bestowed upon the performer. It is a great pleasure to listen to Mme. Di Murska’s delivery of music of this kind, and we trust that during the tour upon which she is about to depart no one will neglect an opportunity of hearing her. The recital of ‘Marta’ does not need review. We must mention, however, that Signor Verati, as Lionello, did exceedingly well, and obtained a deserved encore for a very unaffected and expressive reading of ‘M’appari.’”

“…Mlle. Ilma di Murska bade au revoir to New York at the Lyceum yesterday, appearing as Lady Henrietta in ‘Martha,’ and in the shadow scene in the second act of ‘Dinorah.’ She does not appear to such advantage in the light, taking music of ‘Martha’as in the other rôles she has essayed in this city, but nothing could be more beautiful than the simple touching manner in which she sang ‘The Last Rose of Summer.’ With that taste that characterizes the true artist she avoided any meretricious embellishment of the music of the rôle from beginning to end. But in the fanciful measures of Meyerbeer’s rustic heroine the phenomenal qualities of Di Murska’s voice shone out. The very ombra leggiera seemed to be instinct with music, as the echoes of the brilliant voice, in mezza voce, were given with wonderful fidelity. Her resemblance as a cantatrice to Bosio was strongly marked in the minds of those present who had the good fortune to hear that great artist. She pours forth from her magic throat roulades, staccati, trills and every conceivable kind of vocal ornaments with the ease of a nightingale and with absolute correctness. No difficulties of vocalization can inspire her with fear. She seems to rejoice in adding to them. Her return to New York at Easter will, doubtless, be anxiously looked for by the habitués of the Academy. Mme. Testa made a very vivacious Nancy, and would have been entirely satisfactory had it not been for the objectional vibrato in her voice. The rest of the company do not call for special notice, unless words of condemnation.”