Strakosch Italian Opera: Les Huguenots

“We learn with great satisfaction that Mr. Strakosch has arranged to give four performances of Italian opera at the Academy… We are asked to mention that the subscribers during the season recently ended may, on application at the box-office, retain the saets and boxes heretofore held.”

“It is a great pleasure to have the Strakosch Opera Company on the boards of the Academy during Christmas week.”

“Mr. Strakosch commenced last night at the Academy of Music a short season of opera, to consist of three nights and a matinée. Nothing more welcome in opera could be selected to inaugurate the visit of Santa Claus than the masterwork of all operas, Meyerbeer’s immortal ‘Huguenots,’ given with such a perfection of ensemble and finish in every detail as it is presented by the Strakosch company. The grandeur of the music and the genius displayed by Mme. Nilsson and Signor Campanini in the fourth act cannot fail to awake the liveliest interest in the minds of the musical public at all times. The subject is strange, however, for such an occasion. Christmas Eve and the eve of the massacre of St. Bartholomew can scarcely be reconciled. Yet the performance last evening was of such a superior character that few, probably, considered for a moment the incongruity of the subject and the occasion. Mme. Nilsson’s other rôles sink into insignificance beside her artistic and passionate impersonation of the daughter of St. Bris, and Campanini has only reached the standard of his Raoul in the rôle of Radames. Miss Cary, in two airs of the page, was as piquant and brilliant as ever, and the gloomy, revengeful, bigoted St. Bris of Maurel formed an effective contrast to the chivalrous, galant Nevers of Del Puente. The best representative of the bluff old Huguenot soldier, Marcel, we have had on the American boards since the days of Formes is undoubtedly Signor Nannetti. Even the smaller rôles in this opera are so admirably filled that not a flaw is allowed to mar the beauty of the ensemble. Chorus and orchestra are so carefully trained and rehearsed by Signor Muzio that not only absolute correctness, but even the most delicate nuances of expression, are attained. The performance of ‘Les Huguenots’ last night, like its predecessors, will stand as a monument of the success of the Strakosch troupe.”

Brief. The cast “sustain[ed] the parts to the performance, of which by the same artists reference has already been made. Yesterday’s rehearsal does not, on that account, exact review. It was thoroughly enjoyed, and, after the first act, Mme. Nilsson and Signor Campanini were recalled five times.”

Brief. “In spite of the home attractions that keep so many people indoors at this festival season, the audiences at the Academy of Music, at the performance of the ‘Huguenots’ on Christmas Eve and of ‘Aïda’ last night, were very large, and the representation of both these fine works were received with every demonstration of admiration.” Continues about Aïda.

“Two performances of the Strakosch troupe this week have been rewarded with the warmest applause, if not with overflowing houses. Thus, on Wednesday night Madame Nilsson and Signor Campanini after the fourth act, were called before the curtain five times; and last night a brilliant performance of ‘Aïda’ gave entire satisfaction to all present.” Goes on about Aida performance.

“New York, Jan. 5.—The Strakosch Italian opera troupe gave four representations here during Christmas week, beginning on Wednesday evening with Gli Ugonotti. The representation was a very successful one. Mme. Nilsson is quite the ideal Valentine; Miss Cary makes a charming Page; Campanini, although sluggish at first, became fairly warmed up in the third act and did some fine singing; while Maurel showed himself to be a true artist, thoroughly master of his part.”