Strakosch Italian Opera: Martha

“‘Martha’ was brought out last evening at the Academy for the first time this season. The performance was a thoroughly enjoyable one, for the opera was not only delightfully sung, but it was acted with dash and spirit. Campanini at a late hour was substituted for Capoul, who was indisposed, and the indulgence of the audience was asked in [sic] his behalf. But no indulgence was needed, for his Lionel proved to be one of the most finished performances with which Campanini has yet presented us.

The other rôles were filled by Madame Nilsson, Miss Cary, and Signora Del Puente and Scolara. Both the ladies were in excellent voices and the best of spirits, and made the second act—the spinning wheel quartette and the subsequent concerted music—bright with their charming merriment. There have been many admirable performances of this opera at the Academy, but on the whole the present cast compares favorably with any of its predecessors.”

“An agreeable performance of ‘Martha’ last night at the Academy of Music attracted a very good audience. The Lady Henrietta of Mme. Nilsson and the Nancy of Miss Cary are both well known and admired, and on this occasion they were as excellent as usual. M. Capoul, falling suddenly indisposed, found a welcome substitute in Sig. Campanini, whose Lionel presented some excellent points. The Plunkett was Sig. Del Puente, whose voice is not deep enough for the part. We have to note the first appearance of a new piece of scenery—a very handsome landscape—which did duty in the Fair scene.”

“Flotow’s pleasant though rather weak opera of ‘Martha’ has become one of the regular attractions of every operatic season. Like ‘Trovatore,’ ‘Lucia’ or ‘Traviata,’ it is sure of at least one performance. As given last night, it might safely claim frequent repetitions, for it was sung in excellent style and elicited many marks of applause. Madame Nilsson has always found in this opera one of her most taking parts. Miss Cary, too, appears to excellent advantage as Nancy. She is this season singing better than ever before, and her rich, full voice excited unqualified admiration. Del Puente makes a satisfactory Plunkett, and Campanini, who last night took the part of Lionel (in place of M. Capoul, who was sick,) made a decided hit in his aria ‘M’appari.’ The opera was altogether a most successful performance.”

“Flotow’s comic opera, ‘Martha,’ was produced last night at the Academy of Music for the first time this season, with Mme. Nilsson in the title rôle. M. Victor Capoul, the French tenore de grazia, had been announced as the Lionel of the evening, but at the last moment posters were put out to the effect that, in consequence of that artist being indisposed, Signor Campanini would appear in the part. M. Capoul’s Lionel is well known and widely appreciated, but the audience, which was a large one, received the announcement of the change without any apparent dissatisfaction. Whatever disappointment might have been felt gave way to a lively feeling of curiosity as to the figure which the great Italian tenor would make in Flotow’s chef-d’œuvre, which is a favorite everywhere, and in England regarded often as the crucial test of aspiring prime donne. Signor Campanini’s Lionel was in every respect a success. From the solo profugo, in the first act, he exhibited perfect ease in the part and entire command of the music. His clear chest notes in the upper register came without effort; and in the closing scenes, when passion gives place to comedy and madness succeeds, his portrayal of the varying shades of emotion was very fine. He did not act the lover in the first instance with much warmth, but his singing was all that could be desired. There is a point at which the loves [sic] of operatic tenors become nauseous, but Campanini falls short of this to the extent of being somewhat cold. It has one good effect in this opera, we may state for what it is worth, namely, saving the position of Lady Henriette from appearing very perilous in the farmhouse. In the third act, where he has the stage to himself, and can discourse in a manner ‘most musical, most melancholy’ with the audience upon his love-lorn [sic] condition, he reaped enthusiastic plaudits and a well-deserved encore in ‘M’appari.’ It is long, indeed, since a New York audience heard so deliciously plaintive, exquisitely phrased and evenly sung a rendering of this mourceau. His acting and singing to the close of the act were impassioned and fascinating, the air ‘Ah che a voi perdoni Iddio’ being magnificently given, although the chorus got a little out of its latitude and had to be called to order.

The fourth act was ruthlessly chopped to pieces, the head and tail only being left, and the fine scene between Lionel and Henrietta, which forms the body of the act, thrown away. This makes the finale abrupt and the story nonsense; but the ways of the pruners are inscrutable. For Campanini the performance was, however, a decided success.

Mlle. Nilsson’s Martha is too well know [sic] to the operatic world to need long notice here. Last evening it was all that it has been, and that is high praise. It was in this part that the fair artiste first received her place in London in the operatic constellation. Her singing of the ‘Last Rose of Summer’ was marked with the charming simplicity and pure quality of tone which the noble melody demands—conditions on which many a singer’s reputation has been shipwrecked. Miss Cary’s Nancy was a sprightly performance, and if her sauciness was a little more piquant and a little less brusque the part would be greatly improved. Her rich contralto was heard to advantage throughout, and in the duet with Miss Nilsson in the first act she fairly divided the honors. Signor Del Puente as Plunkett was a marked success. The familiar drinking song and chorus at the beginning of the third act, ‘Chi mi dira,’ was well honored with a recall. The concerted pieces were very fairly given. The chorus, particularly, we regret to say, the ladies, would have been the better for some rehearsing, the hunting chorus for female voices being especially noticeable in its weakness and want of coherence. The famous spinning wheel quartet was capitally given. It seems almost hopeless to protest against the fearful failure to present the scenery and accessories of any opera at the Academy. The Richmond fair scene was set with the old snow-clad Alpine background. This scene is like the head of the Charles the First which Master Dick, in ‘David Copperfield,’ could not keep out of his memorial; it cannot be kept out of any opera at that house. It would be painful to continue the catalogue of dismal shortcomings in this respect. The impresario may not be to blame in this; but the public is convinced that something should be done to fulfill oft-made promises on this score.”