Puzzlement over the absence of the name of Christine Nilsson as a participant. 

Support for soprano Christine Nilsson’s position in refusing to participate in the benefit for Strakosch. 

“The last operatic representation of the season, given for the benefit of Mr. Max Strakosch, occurred at the Academy of Music, yesterday evening. Its most notable feature was the recital of the final act of ‘Hamlet,’ with Mlle. Di Murska as Ophelia. The songstress executed with astonishing ease and effect the very difficult music with which Thomas has prefaced the death of the Danish maiden, and, in fact, supplied a performance the like of which is not enjoyed twice in a generation. Mlle. Di Murska also sang the ‘Shadow Song,’ from ‘Dinorah,’ her two efforts being rewarded by gifts of flowers so profuse that even Hofheimer’s resources must have been taxed to their utmost to furnish them. The programme included, further, one act from ‘Der Freyschutz,’ in German, Mme. Lucca rendering with great charm the well-known aria, prayer, and allegro, while the pretty prefatory duet was briskly interpreted by Mme. Lucca and Mlle. Canissa.The second act of ‘Lucrezia Borgia,’ with a highly dramatic portrayal of The Duchess, by Mme. Lucca; a sympathetic and manly personation of Gennaro, by M. Tom Karl; and an intelligent and melodious reading of the music of The Duke by Signor Nannetti was a fourth part of the entertainment, which opened with the first act of ‘Faust,’ by M. Capoul and Signor Nannetti. During the evening there was a loud demand for the impresario, and, after some delay, Mr. Strakosch ventured before the curtain. Here Mme. Lucca addressed him in a few well chosen words, and presented to him, in the name of the artists of the company, a superb silver épergne. Mr. Strakosch was deeply impressed by this little incident, and only succeeded in bowing his thanks. A few minutes later, however, he reappeared, in obedience to a call, and briefly expressed his gratitude to the public for its appreciation of his endeavors to please them this season, and his faith in a continuance of favor in years to come.” 

“The opera season closed last night with a benefit to the manager, Max Strakosch. It was an after thought, came at the close of a series of brilliant and almost exhaustive entertainments, and did not include among its attractions the services of the prima donna and the tenor to whom so much of the success of the recent season is owing. Yet it was, nevertheless, an interesting affair, the honors being divided between Lucca, in acts of ‘Freischütz’ and ‘Lucrezia,’ and Di Murska in acts of ‘Dinorah’ and ‘Hamlet.’ A performance like this of detached operatic scenes is not open to criticism; but the recital of last night had some charming points. Di Murska, in the tender and ethereal music of Ambroise Thomas, was quite at home, and her dainty singing and acting was in exquisite contrast to the vigorous declamatory style of Lucca. Canissa, Capoul, Nannetti, Seclara and Tom Karl, all gave their aid. The applause was liberal. As to flowers, they cease to have any significance when bestowed in the profusion which has characterized the recent opera recitals. Last night, for instance, Di Murska received over thirty large trays, baskets and bouquets, and Lucca nearly as many more.

During the last entr’acte Mr. Strakosch was called for, and on the raising of the curtain he was presented by his company with a silver epergne, Lucca making the presentation speech—a few kindly remarks—in English. Mr. Strakosch thanked the public for the patronage extended to his operatic enterprises and hoped to resume his efforts next season. And so the chapter endeth.”

“The long, brilliant season of Italian opera, which commenced in October last and closed definitely last night, marks an era in the lyric drama such as may be regarded in the light of a permanent reform. The matériel of the company was excellent and the solo parts, chorus and orchestra all showed rare enterprise and discrimination in placing each opera on the stage with as strong a musical ensemble as could be given. Two of the operas, ‘Aida’ and ‘Lohengrin’ showed still more remarkable enterprise in furnishing the boards of the Academy of Music with a mise en scène, with which they were never before acquainted. The benefit last night presented four events—the prayer from ‘Der Freischütz’ and the grand scene from the second act of ‘Lucrezia Borgia,’ in which Mme. Lucca took part, and the shadow song from ‘Dinorah’and the mad scene of Ophelia, from ‘Hamlet,’ sung by Mlle. Di Murska. In the ‘Freischütz’ scene the dramatic talent of Mme. Lucca was displayed in its strongest light, and was well supplemented by the archness of and vivacity of the Annchen, ‘Die andere kleine Paulina,’ Mlle. Canissa. The sensation of the evening was the truly wonderful singing of Mlle. Di Murska in the shadow song and the last scene from Thomas’ opera. Such vocalization is phenomenal, and when, as in the case of the Hungarian nightingale, it is entirely within the bounds of art, it is electric in its effect upon an audience. An interesting scene took place during the performance in the presentation of a very costly piece of plate to Mr. Strakosch by the company. Mme. Lucca made the address, and acquitted herself very admirably in her new rôle of orator. The blushing manager, forced to make ‘a few brief remarks,’ thanked the public for their generous appreciation of his efforts during the past season and hoped to eclipse in the coming season all that he has heretofore accomplished.”

Letter to the editor from Max Strakosch explaining that he did not ask Christine Nilsson (or any other artist) to sing at his benefit without recompense; true facts of the matter.