New-Yorker Stadt-Theater Opera: Der Troubadour
Event Information
Venue(s):
New-Yorker Stadt-Theater [45-47 Bowery- post-Sept 1864]
Event Type:
Opera
Record Information
Status:
Published
Last Updated:
2 May 2025
Performance Date(s) and Time(s)
16 Mar 1874, EveningPerformers and/or Works Performed
1)
aka Troubadour
Composer(s): Verdi
Participants: New-Yorker Stadt-Theater Opera Company; Louise Lichtmay (role: Leonora); Ch. [tenor] Pflueger (role: Manrico); Pauline Lucca (role: Azucena); Mr. [vocalist] Lehmann (role: Di Luna)
Citations
2)
“Mme. Lucca sang at the Stadt Theatre last evening in ‘Il Trovatore.’ Her fine and highly-dramatic portrayal of Azucena was written of when she filled that role at the Lyceum Theatre, and does not need further notice. A German Azucena is, of course, less acceptable to the ear than an Italian one, but the picture Mme. Lucca presents is equally forcible whatever the language she uses. As was anticipated, with more dread than delight, Herr Pflüger personated Manrico, Herr Lehman was Di Luna, and Mme. Lichtmay Leonora. The house was crowded and the applause thunderous.”
3)
“Mme. Pauline Lucca reappeared last evening at the Stadt Theatre before an overwhelming house. She was welcomed back after her recent illness with the same eager demonstrations of affection and appreciation on the part of her compatriots as when she first sung in this theatre. The opera was ‘Der Troubadour,’ and was given with the following cast [see above]. Although there were many points of positive merit and a few of excellence in the treatment of their respective rôles by Mme. Lichtmay and Messrs. Pflueger and Lehmann, yet the entire attention and interest of the immense audience were naturally concentrated upon the Gypsy of ‘Die Kleine Pauline.’ It is truly a very striking and effective impersonation, such a one as is rarely witnessed nowadays. In the second act, where Acuzena tells the Troubadour the tragic history of her mother, the thrilling tones of the full, sonorous voice of Mme. Lucca seemed to fill the vast house with a perfect ocean of sound.
The power and sympathetic quality of this voice cannot be overestimated. Her histrionic ability is also of a corresponding standard of greatness, and both features combine to render her Azucena a most remarkable performance. Doves, flowers, rounds of applause and encores were lavishly bestowed upon her. There was not the slightest trace of the indisposition that confined her to her room during the past week. She can only sing when her voice is in complete order, and therefore her appearance in opera cannot fail to be always a source of pleasure.”