Strakosch Italian Opera: Lucia di Lammermoor

“Donizetti’s tender and melodious work, ‘Lucia di Lammermoor,’ which this season seems to have renewed all its old popularity, will be given to-night at the Academy of Music, with Nilsson, Campanini and Del Puente in the principal parts. It is to be regretted that managers now-a-days wiff not restore the part of Raymond to its original prominence by the introduction of the noble scena and aria for the basso in the second act; but even without this, ‘Lucia’ as sung by the Strakosch troupe, is a delightful musical treat.”

“Madame Nilsson last night, in ‘Lucia,’ sang better than on any evening since her return to this country; and this, too, notwithstanding the fact that the noise of the political demonstration in front of Tammany Hall was plainly heard within the Academy, the discharges of cannon causing all the ladies on the stage to start and shiver at intervals with nervous alarm. But Nilsson’s voice was in excellent condition, and in the mad scene, as usual, she won the warmest applause. Campanini also sang with spirit, and as there was a large and well-dressed audience present, the evening passed off most pleasantly.”

“Mme. Nilsson, Signor Campanini, and Signor Del Puente sang in ‘Lucia di Lammermoor,’ at the Academy last evening. The performance of ‘Lucia,’ by these artists, has been noticed twice this season, and it does not, on that account, claim extended consideration. It is certainly desirable that Mr. Strakosch’s representations should savor somewhat of novelty, but one does not easily tire of Donizetti’s elegiac strains, nor of the shapely and finished recitals secured by frequent repetition. Yesterday’s entertainment passed off with unbroken smoothness. Mme. Nilsson was in excellent voice, and her personation of the hapless bride of Lammermoor was as prominent as usual in respect of its impressiveness as a dramatic picture and its charm as a lyric effort. Of its features, we need but name the allegretto following Lucia’s first air, and commencing ‘Quando rapita in estasi,’ which supplied renewed evidence of the lady’s proficiency as a bravura songstress; the artist’s eloquent acting at the close of the second act, when she craves Edgardo’s forgiveness, and offered strong proof of her rare histrionic talent; and the fine scene—opening with ‘Il dolce suon,’ and including recitative, cantabile, and display music in about equal proportions—which passage may be referred to as sufficiently comprehensive in its requirements to enable the formation of a complete and most flattering estimate of Mme. Nilsson’s merits as a tragedienne and prima donna. Mme. Nilsson was thrice summoned before the footlights after this part of the opera. Signor Campanini, although slightly affected by the change in the weather, sang with is wonted sweetness, and acted, especially in the stirring incidents occurring after the sextet, with an earnestness and force few tenors nowadays are conspicuous for; the sextet, by the way, was interrupted by loud applause. Signor Del Puente as Enrico again did the honest work for which he has been commended since the outset of the present series of representations. The performance, we have to add, was accompanied not only by the orchestra, but by one of the best-served field-pieces, stationed in Fourteenth street, it has ever been our fortune to listen to. Democratic guns were fired almost continually for two hours, and spectators familiar with the score of ‘Lucia’ could not repress a smile when the heroine’s wandering allusion to a celestial harmony was pointed by an explosion of unusual violence.”

Brief. “‘Lucia’ was repeated last evening at the Academy, with Mrs. Nilsson in the title rôle. The fame of the Swedish nightingale is indissolubly connected with her matchless impersonation of the hapless Bride of Lammermoor, and in no other rôle does she produce a more profound impression. The mad scene, as interpreted by her, is an idyl of lyric and dramatic [illeg.]passion.”