Strakosch Italian Opera: Aida

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

“‘Aida,’ with its brilliant scenery and gorgeous costumes, will prove an excellent Christmas entertainment. Mr. Strakosch could not have chosen any opera better suited to the occasion or one likely to prove so attractive.”

“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. ‘Aïda’ is an opera that will grow upon the public. Its intrinsic merits, which are for beyond those of any other of Verdi’s compositions, are heightened and fitly illustrated by the superb setting with which it is put upon the stage. The cast is so uniformly good as to leave in that respect almost nothing further to be desired.”

“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. Cary and Campanini sang superbly; and Torriani, who, as an artist, has scarcely received the attention she deserves, exhibited decided improvement in her personation of the part of Aïda. She fully shared with Campanini in the lavish applause bestowed upon the third act. Nanetti sang with dignity and effect, creating the best impression in the trial scene of the last act. Altogether the performance of last night was a noble lyric representation.”

“A fine performance of ‘Aïda’ was witnessed at the Academy of Music last evening. Each recital of the opera improves upon its predecessor, and now that Verdi’s work has had about a dozen representations, its rendering by Mr. Strakosch’s artists can be declared well-nigh perfect. Yesterday’s rehearsal was uncommonly effective. The frequenters of the Academy have become thoroughly acquainted with ‘Aïda,’ and as the composer has achieved in his latest effort something far more durable than was previously to be laid to his credit, the increased acquaintance begets increased admiration. Thanks to the many beauties of the opera, to its faultless rendering, and to its characteristic and superb mise en scène, Mr. Strakosch has added to his répertoire a work which, in our judgment, could have had a steady ‘run.’ ‘Aïda,’ however, will be sung but once more before the company depart on a six weeks’ tour. Its last performance occurs at the Saturday matinée.”

“Of all the holiday spectacles which were presented on Christmas night at the various places of amusement in this city none could give more unalloyed pleasure and enjoyment than the performance of ‘Aïda’ at the Academy of Music. Good as the first representation may have been, the company have since made such progress towards the complete mastery of the intricacies of Verdi’s great work as to surprise even those acquainted with the excellence of the materials of which the Strakosch troupe is composed. Last night’s performance was proof of this progress. Mlle. Torriani has gained a considerable share of that emotional power, intensity of feeling and sympathetic expression which the trying rôle of Aïda demands, and her voice was richer and more effective than at any previous representation. Miss Cary has not rested idly on the laurels she won the first night in the rôle of Amneris, but she has evidently striven to attain a still higher standard of merit, and with success, too. Signor Campanini’s Radames is only equalled by his Raoul, and no other tenor has reached either impersonation on our operatic stage since the palmy days of Salvi and Mario. The fine, sonorous bass voice of Signor Nannetti brings into relief the best points of the music of Ramfis, and the King of Ethiopia has a fitting representative in M. Maurel. But to the indefatigable chef d’orchestre, Muzio, the largest share of praise is due for the completeness of the ensemble. The gorgeous mise en scene, costumes and appointments evidence a liberality on the part of the management which is a perfect novelty in the operatic world here.”

Brief. “The theatrical week just ended was not remarkable for novelty or activity, and that now commencing will hardly be more notable. The bad weather, of course, exercised a disastrous influence upon the receipts of all the places of amusement, but this period of the year is rarely prosperous. Yesterday afternoon, however, in spite of the storm and the season, the Academy of Music was crowded by an audience which waxed quite enthusiastic over the final representation of ‘Aïda.’”

Brief. “The short season of opera commenced by the Strakosch company at the Academy of Music on Wednesday evening was brought to a close yesterday afternoon by a very find performance of ‘Aïda,’ which drew a large house in spite of the inclement weather.” Lists cities in which the company next performs; notes return to New York in February 1874: “During the spring season in this city ‘Lohengrin,’ ‘Romeo and Juliet’ and other new operas in the répertoire will be produced.”

“New York, Jan. 5.—…Aida was performed on Thursday evening and at the matinée on Saturday. Whatever may be said concerning the merits of this opera, it is certain that the music differs materially from that of the other works, by the same composer, with which we are familiar. To some people this statement alone will seem like praise of the opera. The orchestral accompaniments, throughout the work, are written with much skill; no greater contrast to the wearisome tum-tum-tum of Trovatore can be imagined. But there is, to my mind no inspiration, no trace of genius in the music. It is the perfection of talent and that is all.

The scenery, the auxiliaries and costumes are really magnificent enough in themselves to insure crowded houses and, if Mr. Strakosch gives representations of this opera in Cincinnati, St. Louis and Chicago, it will be something to be remembered, even in those lively towns, where startling events are quite in order.

…This troupe, which is the best I have ever heard in New York, will give representations in Boston for two weeks, Beginning Feb. 2nd, on their return from the West, and will commence a new season of opera in this city on Feb. 16th.”