Articles on recent Strakosch Italian Opera season

“It is one of the unwritten laws of society that there shall be no Italian opera in New-York during that bustling season which extends from the first preparations for the Christmas holidays to the beginning of the penitential time of Lent. Whether it is too sad an amusement for the gayest portion of the Winter, or is only a refuge from domestic dullness, to be sought when the ball and the dinner party are not in fashion, we must leave the managers to decide. This year at all events melancholy has brooded over the parquet, and sorrow has sat in the boxes. We have seen here a greater number of artists of the first eminence than have ever been in New-York at any one time before—nay, it is only by some rare accident that so many could be assembled in any capital of Europe—and yet the public has been unsympathetic, and the ventures of the two managers have been disastrous. In the case of Mr. Maretzek, disaster was to have been looked for. He had three singers of great fame, but he had nothing else, and he offered an entertainment much worse in its general effect than even the patient and uncritical people of New-York could be expected to endure. Mr. Strakosch, however, has richly deserved success. He has an excellent company, more complete, though not absolutely stronger, than we have heard here before, and notwithstanding the carelessness that marred some of the earlier representations of the season, he has shown a creditable effort to improve the lyric stage, and an unexpected liberality in his expenditures. That the financial disorders should have robbed him of his proper reward seems to us a public misfortune. If we are ever to have a permanent elevation of the standard of lyric representations in New-York, we must encourage every genuine attempt, such as Mr. Strakosch has made this season.

To-night we have the last performance of ‘Aida’ for the present, and on Monday the company will start on the provincial tour which for some years to come will doubtless be a regular incident of every operatic enterprise in America. It is a pity that the splendors of the new opera, so far surpassing all previous exhibitions at our Academy of Music, should be snatched from the gaze of a public which is just beginning to be enthusiastic about them and to relish the admirable composition which they serve to illustrate. ‘Aida’ has given Mr. Strakosch, however, a brilliant close to his metropolitan Winter season, and sent him forth upon his journey joyful and crowned, so to speak, with laurel. When he comes back we trust he may find the city with money in its purse, and hands outstretched to bid him welcome.”

“With the performance of ‘Mignon’ at to-day’s matinée the present season of Italian opera will be brought to a close. Whatever the results may have been financially, from an artistic point of view the season has been one of brilliant success.

In most respects Strakosch has given us exactly such a company as the public and the press have so many times bewailed the lack of; one of even excellence from the prima donna down through all the subordinate parts.

It is [a] matter of general regret that so sumptuous and attractive a work as Verdi’s ‘Aida’ should be snatched so quickly away. It could not fail to gain ground in public esteem; or if it did, the public would have shown itself unworthy of the efforts of any manager to put an opera properly upon the stage in this city. The cast was such as would reflect credit upon any opera house in the world, and as for the scenery, nothing finer could be desired. The ‘Huguenots,’ though not mounted with the same elaboration and expense, was in every other respect an equally creditable performance.

In both these operas Miss Cary and Campanini, Nannetti, and Maurel were conspicuous for the artistic finish of their respective roles. With these splendid operas, and the added attractions of Wagner’s ‘Lohengrin,’ it is to be hoped that Mr. Strakosch, falling perhaps on more prosperous times, will make his next season the most brilliant one in our operatic annals.”

“Mr. Strakosch closes with to-day’s matinee a season marked by unusual excellence. His troupe has been fuller and more effective than any we have yet had here. The list of the operas produced includes ‘Lucrezia Borgia,’ ‘Faust,’ ‘Martha,’ ‘Don Giovanni,’ ‘Mignon,’ ‘Favorita,’ ‘Trovatore,’ ‘Ernani,’ ‘Rigoletto,’ ‘Les Huguenots’ and ‘Aïda,’ the last two being the most important from the musicians’ stand point. Next to these the greatest success of the season was achieved by Maurel in ‘Ernani.’ Madame Nilsson has been the prima donna of the campaign, winning her usual triumphs.”

“The Winter season of opera will close to-day with a matinee, and it is pleasant, looking back over the performances of the past ten weeks, to remember that Mr. Strakosch has amply fulfilled the promises of his prospectus, and kept faith with his subscribers in every particular. Of the nineteen operas announced in the repertoire, all but seven have been given—and the Spring season is still to come. ‘Aida’ has been presented with even more than the promised grandeur, and its production will form a memorable event in the history of the New-York stage. With the company we have had the best reason to feel satisfied. Mme. Nilsson has been in richer voice and apparently stronger health than ever. Miss Cary has developed a dramatic spirit and a breadth of culture for which her best friends hardly gave her credit; and Mlle. Torriani has at least all the merits which the prospectus claimed for her. M. Capoul satisfies his numerous admirers, and Sig. Del Puente is a young singer of merit and promise. In Sig. Campanini we have undoubtedly one of the best Italian tenors now on the stage, and in some of his parts—in Raoul for instance, in Gennaro, in Manrico—he has created a marked sensation; while it is hardly necessary to add that he has contributed in a very important degree to the success of ‘Aida.’ M. Maurel is the only baritone of the first rank whom we have heard in several years, except Mr. Santley, and he has won the cordial regard of the public. Sig. Nannetti has a rich an melodious bass voice, which he uses like a true artist, and whatever he undertakes is done with intelligence and care. The chorus has not been good, and the orchestra under Sig. Muzio accommodated itself sufficiently to the singers. We trust these defects may be remedied before Mr. Strakosch comes back from his tour.”

“With the performance of ‘Aïda,’ last evening—a performance symmetrical and impressive, and enjoyed by a very large audience—the season of thirty nights of Italian opera at the Academy of Music terminated. There will be a farewell matinée to-day, when ‘Mignon’ will be sung, and on Monday Mr. Strakosch’s artists will be heard in Philadelphia. We are much mistaken if the series of entertainments now concluding is not long remembered. The fact that in spite of troublous times we have had opera for ten consecutive weeks, is in itself worth bearing in mind; and when it is to be recorded that most of the representations have bordered on perfection, it must be conceded that we shall have something to look back to. Mr. Strakosch’s season has been artistically brilliant; from a financial stand-point, it has been fairly successful. The panic came with the singers, and its effect is dying away just as they depart. Happily, what promises to be a remunerative tour, and also a second series of performances in this City two months hence, open up a more cheering prospect than lay before the management in September. Beyond expressing a hope that the enterprise will in this respect meet its great deserts, we have, however, little to say. A reference to the season is in our province, rather than a statement of its pecuniary results. The reference in this case is decidedly agreeable. We have enjoyed recitals of twelve operas, including one novelty par excellence, and we have been made acquainted with a large company of first-rate artists. The repertoire included ‘Faust,’ ‘Gli Ugonotti,’ ‘Don Giovanni,’ ‘Lucia,’ ‘Lucrezia Borgia,’ ‘Mignon,’ ‘La Traviata,’ ‘Il Trovatore,’ ‘Ernani,’ ‘Rigoletto,’ ‘Marta,’ and ‘Aïda.’ It could have been easily augmented, but in consequence of the determination of the Directors of the Academy to let the house on the ‘off nights’ for miscellaneous purposes, it was often impossible to obtain the use of the stage for the necessary rehearsals. But as there is really no occasion to complain of Mrs. Strakosch’s achievements, we need not enumerate the many disadvantages under which an impresario in New-York must labor. In spite of them we have passed through a season marked by variety and excellence. The most conspicuous feature of the répertoire has undoubtedly been ‘Aïda.’ The rendering of that work in the United States in advance of its production in London, Paris, or St. Petersburg, was a stroke of enterprise, and its exposition with scenery and costumes purchased expressly for display in the United States, denoted a most laudable desire to fully satisfy the public as to the merits of a composition particularly exacting in the matter of pictorial illustration. The performance of ‘Gli Ugonotti’ supplied, in our judgment, the most convincing proofs of the strength of Mr. Strakosch’s company. Mme. Nilsson who had never essayed the part of Valentine, assumed it when Meyerbeer’s admirable work was last given here, and as the principal members of the troupe were associated with the prima donna in the interpretation of what can be justly called the opera of operas, an entertainment of uncommon attractiveness was had. We have followed the incidents of the past three months pretty closely, and we are therefore scarcely called upon to enter into details as to the artists whose respective débuts were noticed seriatim. Yet the company Mr. Strakosch has gathered is so good that it is only justice to it and its manger to once more dwell upon its excellences. Mme. Nilsson is an old acquaintance, and has been cordially welcomed back to the scene of some of her earliest triumphs in Italian opera. She has much individuality, rare personal charms, a fine and powerful voice, consummate skill as an actress, and, in all things, vast savoir faire. With gifts and acquirements of this sort, it is not hard to please, and, although we do not think that as Valentine she rises to the tragic heights trodden by Mme. Pauline Lucca—to name a prima donna who has appeared in this City as the daughter of St. Bris—her fresh impersonation has been distinguished by real womanly and, consequently, sympathetic qualities, and earnestness and considerable dramatic vim. Mme. Nilsson sang, too, during the season Donna Elvira, but she will not be identified with the character. The Swedish songstress has been at her best in ‘Lucia,’ and as Marta she has been quite successful; her Mignon and Margarita are delicious pictures. Mr. Strakosch’s new tenor has shared the plaudits of almost every audience with Mme. Nilsson. Signor Campanini, concerning whose voice and style so much was written before his arrival, has not only fulfilled the expectations excited, but has exceeded them. Since his essay victory in ‘Lucrezia Borgia’ Signor Campanini has steadily progressed in public favor. He has not merely a voice very sweet and withal very powerful, but a complete mastery of its tones; he phrases his lines without pretense of affectation, and he acts with unflagging earnestness. The gentleman has been listened to in eight of the operas selected, and he has executed all his tasks not merely with intelligence, but with art. In ‘Gli Ugonotti,’ Signor Campanini carried off, in the fourth act, the largest portion of laurels, thanks to a performance uncommonly impassioned; nor could we wish a better Radames, which character he created in ‘Aïda,’ than he portrayed. An artist of exceptional attainments has been seen less frequently than the tenor, but with quite as decisive results. M. Maurel has figured in five operas only; the impression he has wrought has nevertheless been profound. This baritone is unquestionably the most finished singer and actor of his class—always excepting M. Faure, who, be it said, cannot endure forever—and his command of rare natural resources is already so thorough that, in view of his age, we cannot assign limits to his career. M. Maurel possesses a rich voice; he uses it with an absolute knowledge of its capabilities; his phrasing is faultless in regard to taste and correctness; his coloritur [sic] is replete with the nicest touches, and he is a capitally-trained comedian. It is natural enough, therefore, that each of the baritone’s efforts should have borne a distinctive impress. As Valentine his merit has been as clear as in the character of Carlo Quinto, and the smallest fragment of recitative in ‘Gli Ugonotti’ has testified as eloquently to his sensibility and culture as the duo in the third act of ‘Aïda.’ We are glad to note that M. Maurel has been appreciated and admired. There is no question about his claims to consideration, but to comprehend them indicates more knowledge and experience in a general audience than everybody would be willing to allow. Mr. Strakosch’s contralto fills out the quartet. From Miss Annie Louise Cary’s first hearing in New-York, opera and concert goers too to her kindly; and, not satisfied with the result which so beautiful a voice as that she possesses is always sure to produce, the lady has striven unceasingly to advance in her profession. Miss Cary has ever shown herself a gifted and conscientious artist, and, this season, she has won a very high place in public opinion. None of her fellow-performers have done as continuous work as she. The young songstress has figured in eight operas; she has sustained for the first time the contralto rôles in ‘Gli Ugonotti,’ ‘Lucrezia,’ ‘Mignon,’ ‘Rigoletto,’ and ‘Aïda,’ and has been adequate, in point of acting and singing, to one and all. The production of ‘Aïda’ was a piece of good fortune for Miss Cary, thoug before the work was given some fear may have been felt as to her ability to meet the dramatic exigencies of the extremely trying part of Amneris. The earliest rehearsal of ‘Aïda’ disposed of this idea at once, and Miss Cary’s success as the rival of Aïda—a success written of in each of the several notices the recent recitals of the opera have suggested in this place—was reaffirmed by applause and a liberal tribute of flowers only yesterday evening. If space were at our disposal, we would willingly continue this reference. But we are kept, at present, within rather restricted bounds. We must be content to observe that while Mr. Strakosch’s quartet has been of passing excellence, the performers who have clustered about it have made up a splendid troupe. Mlle. Ostava Torriani is an accomplished and painstaking young lady, an accepted favorite, and, in brief, a fit seconda donna to Mme. Nilsson. Mlle. Alice Maresi, albeit but a débutante, executes florid music with wonderful fluency, and as Margarita, in ‘Gli Ugonotti,’ did not impair the shapeliness of the representation. Whenever M. Capoul has bethought himself of his opéra comique schooling—as he does in ‘Mignon’ always, and now and then in ‘Marta’ and in ‘La Traviata’—he has added largely to a popularity founded rather on his warmth and grace as a comedian than on his gifts as a vocalist. Occasionally, M. Capoul has forgotten this fact, and we are particularly sorry that he has done so because it has brought reproach upon a school which is not to be stigmatized, through the errors of one artist, as sending forth none but apostles of the urlo francese. Signor Del Puente, a baritone endowed with a fresh and warm voice, and Signor Nannetti, a young basso equally well favored, are, also, on the list. The proficiency of the orchestra and chorus we have mentioned time and again, and, also, the newness of the stage-costume, while we may repeat that in setting ‘Aïda,’ with scenery and dresses of unparalleled magnificence, Mr. Strakosch has achieved more than any imrpesario [sic] has attempted, even, for years. We have to thank directly the management for the last-named boon, and for the excellent choral and orchestral work of the season, to look gratefully toward Signor Muzio. What with the company, the répertoire, and the accessory features, it is plain that we have been most fortunate this Winter. We trust Mr. Strakosch will find his reward here in Spring season to be commenced at the end of February, and that the earnest of brighter days in store offered by last evening’s attendance may be followed up by generous patronage wherever his artists appear in the interim.”

“The latest and most satisfactory reform movements [sic] is that which Mr. Strakosch introduced in the management of Italian opera during the season which closed with yesterday’s matinée, and which may justly be placed at the head of all other operatic seasons in this city. Although the adverse circumstance of a financial panic, affecting all industrial interests and bearing in its train woes innumerable to those who may be regarded as the chief supporters of opera, had a baleful influence on the pecuniary results of this remarkable season, yet the plucky impresario never faltered in his arduous task of carrying out to the letter his engagements with the public. We have been favored with operatic representations of a standard of excellence far above what previous experience led us to expect, and in two cases—the production of Meyerbeer’s greatest work, ‘Les Huguenots,’ and Verdi’s latest and most remarkable work, ‘Aïda’—performances were on a par with the best efforts of London, Paris, Milan or St. Petersburg. Mr. Strakosch’s efforts during the past season have gained for him the admiration and hearty endorsement of every friend of true art, and have rendered it extremely difficult, if not impossible, for any of his successors to return to the Rip Van Winkle policy which has so long characterized the management of Italian opera in this city. He has broken the spell of depending upon a single artist as a chief attraction, and, by presenting an ensemble of talent, symmetrical and satisfactory in every particular, he has placed Italian opera on the same sound basis as that on which two or three of our leading theatres rest. The principal artists of his company, one and all, have gained laurels which were formerly monopolized by the prima donna or tenor, and Signor Muzio, the chef d’orchestre, has made the chorus and orchestra special attractions in themselves. The minor rôles in the various operas brought out have been entrusted to competent hands instead of the incapables who, from time immemorial, have been inflicted upon the indulgent public. In fact the company of Mr. Strakosch is so good, collectively and individually, that no words of commendation should be denied it.

Mme. Nilsson, whose claims to pre-eminence on the lyric stage are indisputable, came back to us, after a year’s absence, a more finished artist than ever. To the glamour of poetry and grace, which envelops all her lyric impersonations, there was a marked accession of great dramatic power and intensity and breadth of tone and warmth of expression in her voice. New beauties were unfolded in her well known interpretation of the hapless Violetta, the martyred Gretchen, the Bride of Lammermoor, the gentle Mignon, the impassioned Leonora and the coquettish Lady Henrietta. But in the rôle of Valentine in ‘Les Huguenots’ she rose to a standard of greatness that dwarfed all her previous efforts in opera. The American stage has rarely witnessed an exhibition of such histrionic and musical genius as the Swedish Nightingale has shown in the fourth act of Meyerbeer’s great work. Even in ‘Don Giovanni’ the weakness of the other artists in the cast served as a foil to the finished and artistic impersonation of the rôle of Elvira by Mme. Nilsson.

Mlle. Ostava Torriani, who deserves a place beside Mme. Nilsson, for the arduous task she has completed of undertaking such important rôles as Lucia, Elvira in ‘Ernani,’ Zerlina in ‘Don Giovanni,’ Filina in ‘Mignon,’ Gilda in ‘Rigoletto’ and the title rôle in ‘Aïda,’ and achieving a genuine success in the last mentioned character, is a very young prima donna, possessed of a well-trained, flexible, pleasant voice, which in course of time will probably become an organ ranking with those artists whose names are inscribed on the tablets of fame. In ‘Aïda’ Mlle. Torriani has gained an assured triumph, considering the immense difficulties of the rôle and her finished interpretation of it. Her début in ‘Lucia’ was made under circumstances which would have discouraged many a prima donna. Called upon in a few hours’ notice to make her first appearance in a rôle in which Mme. Nilsson had gained her most precious laurels, Mlle. Torriani gravely undertook the task and sprang at once into popularity.

Mlle. Maresi is the youngest member of the company, and in the rôles of Mararita in ‘Les Huguenots’ and Lucrezia Borgia she proved herself a thorough artist. In another rôle she was not so successful. Her voice is too small in timbre for such arduous music as was assigned to her in ‘Don Giovanni.’ Yet the success of Mlle. Maresi in the operas of Donizetti and Meyerbeer is a favorable augury of her future career.

Miss Cary has, during the last season, astonished even her admirers by the great improvement visible in her rendering of the music of Azucena, Urban, Siebel, Federico, Amneris, Nancy, Maddelena and Orsini, in all of which rôles she gained well-desreved applause. In the part of the jealous and revengeful daughter of Pharaoh, in ‘Aïda,’ her acting and singing have placed her in a position second to no living contralto on the operatic boards to-day. Close study, a magnificent voice and a natural desire to excel in the rôles entrusted to her, have moulded [sic] Miss Cary into the symmetry and proportions of a great artist.

Signor Campanini claims the first attention among the male members of the company. From his début as Gennaro to his last finished impersonations of Radames in ‘Aïda,’ this young artist has proved himself one of the best tenors the American stage has seen since the palmy days of Salvi. In ‘Aïda’ and ‘Les Huguenots’ he has been so surpassingly great that the chief share of the honors in both operas must be accorded to him. Unlike other Italian tenors, Campanini is a thorough musician, and is well acquainted with the intricate and voice-destroying works of Wagner. The most remarkable feature of his voice is that he sings better towards the close of an opera than in the beginning. He combines all the poetic delicacy of Mario and Giuglini with the nervous power of Wachtel. A resplendent career is before Signor Campanini, and there is every reason to expect that he will become the representative tenor of the operatic stage.

The next artist in point of merit that claims attention is M. Victor Maurel, the principal barytone [sic, throughout] of the company. With the sole exception of M. Faure, there is not on the operatic stage a barytone who can compare with M. Maurel. The only faut to be considered in speaking of him, is the smallness of his repertoire. When ‘Rigoletto’ was produced, he was not prepared in the title role, which every great barytone is expected to know. But in the operas in which he has appeared, Maurel has won the highest triumphs that an artist can wish for, the perfection of singing and acting.

Signore Nannetti, the basso of the company, in the trying rôles of Marcel in ‘Les Huguenots,’ Ramfis, the high priest, in ‘Aïda; the Duke in ‘Lucrezia’ and Silva in ‘Ernani,’ has given indisputable evidence of being a worthy successor of Carl Formes. Without possessing the wonderful voice of the great German basso, Signor Nannetti displays far more musical intelligence and produces more artistic effect in his rôles.

The second barytone of the company, Signor Del Puente, deserves special commendation on account of his signal services during the season; so does Signor Scolara, who has undertaken with success this season the smaller rôles in certain operas.

The chorus and orchestra, under the able direction of Signor Muzio and Herr Behrens, have been of such a degree of excellence that few opera goers in this city can point to anything in this line to compare with these departments as presented by Signor Muzio and Herr Behrens. The mise en scene in ‘Aïda’ will bear favorable comparison with the best efforts of our dramatic managers. For the first time in the history of opera in this country a grand work in opera was presented without a flaw, either in the cast or the scenery and appointments.

[Lists operas performed.]

Nothing can be added in terms of commendation to our previous remarks on the operas produced during this magnificent season. Mr. Strakosch has successfully undertaken the rôle of operatic pioneer, and he has proved himself this season worthy of the task. He has gained the good will and support of the best musicians in the metropolis.”

“New York, Dec. 8.—The season of Opera which came to an end on Saturday last, was undoubtedly the best we ever had in our city. The fact that it was not successful financially as well as artistically is to be regretted; but this arose from causes which no one could foresee. Mr. Strakosch is to return to us ere long, and it is to be hoped that he will then reap the benefit of his liberal policy which has spared no pains to redeem the promises made in his prospectus. Not only has he produced the well worn and favorite works, which the operatic public insist upon hearing every season, and performed them in a style which (always excepting the chorus) would be no discredit to the rue Lepelletier, but more than that, he has brough tout several works which are novelties to us, and one opera in advance of its performance at London and Paris.

His company is an unusually strong one, and, having secured first-class artists for his leading roles, he has not fallen into the error too common among managers, of selecting incompetent singers for the subordinate parts. Mme. Nilsson, who has taken most of the leading soprano roles, is now universally acknowledged to be unsurpassed by any artist upon the lyric stage. Such a combination of the highest talents, both vocal and histrionic, as she exhibits has not been since the days of Malibran.

Of Mme. Nilsson therefore it is needless here to speak, save to say that she has been in good voice throughout the season, and that every part she has undertaken has received the best possible interpretation. Among her impersonations have been those of Violetta, in La Traviata; Mignon, in the opera of that name; Marguerite in Faust; Leonora in Il Trovatore; Valentine in the Huguenots; Donna Elvira in Don Giovanni, and Lucia in Lucia. Miss Cary has appeared before us so often in company with Nilsson that her name seems in some way connected with that of the great soprano. This lady is always at her best, and her full, rich contralto voice, and her easy, natural acting have justly made her a favorite with the public.

The second Soprano, Mlle. Torriani, is a new artist, who comes to us from London with the laurels of Drury Lane fresh upon her. She made a good impression here as Elvira in Ernani, and in the other roles in which she appeared she is favorably spoken of.

Mlle. Marisi comes third on the list of sopranos. Her voice is remarkably pure, and her singing brilliant and artistic; in her acting, however, she fails, showing a degree of self-consciousness which is, at time, absolutely painful to the beholder. Of tenors there are two, Campanini and Capoul. The latter is already well and favorably known here, so I will not seek his merits to disclose nor draw his falsetto from its dread abode. Of the other tenor I have two distinct impressions: one of his singing, which in the main is remarkably good, and the other of his acting, which is unmistakably bad.

Maurel is the best baritone we have heard since the visit to this country of Santley. Signors Del Puente and Nanetti, if not remarkable singers, are useful members of the troupe, and have taken with credit such parts as have fallen to them.

In the appointments and setting of the stage there has been a manifest improvement over past seasons, and the orchestra under the baton of Sig. Muzio is the best which has ever been heard in connection with opera in New York. Even in the chorus there has been an improvement with each successive representation, and there is little doubt that, were Mr. Strakosch permanently established here, he would soon do away with the only fault we have to find, namely the inefficiency of this part of his troupe.

Hard times would have furnished the manager a good excuse for deferring indefinitely a project involving so great an outlay as the production of Aïda, but to his credit he has kept faith with the public and brought out that opera with a magnificence which I have ever seen equalled upon any stage.

Your readers will not need a detailed account of this opera here, as so many descriptions of it have already been published, but a brief outline of the plot will not be out of place. [Plot synopsis of Aïda, followed by a quotation from a review in the New York Tribune.]”