Strakosch Italian Opera: Lohengrin

Christine Nilsson farewell benefit on Thursday afternoon.

“Mr. Strakosch brought back his company last night to the Academy of Music, and ‘Lohengrin’ was repeated with even more than the usual success. The artists generally seem to have grown more thoroughly into their parts, and to fill them with greater ease, more perfect assurance, and more evident relish. This is especially the case with Sig. Nannetti, Miss Cary, and Sig. del Puente. Excellent from the first, they are now better than ever. The orchestra, too, has greatly improved; and if the chorus has learned nothing during the past two weeks, it at least seems a little less faulty than before, by contrast with what we have heard during its absence. As for Nilsson and Campanini, they gave us on the first night the poet’s very ideals, and it was hardly possible that the beauties of their parts should ever be more fully developed. Wagner could not have dreamed of a more lovely and spiritual Elsa, or a nobler and more majestic knight. They came back to us at their very best. Campanini was in perfect voice, and every phrase that he uttered was replete with matchless sweetness and tender dignity. Never have we heard his wonderful aria parlante at the close of the opera more exquisitely delivered, and never has the pathos of the whole of that scene made a deeper impression upon us. Say what one may of Wagner’s music, it does take hold of the popular heart. That is a fact which can no longer be disputed. All through the great audience last night the evidence of it shone forth; and signs were not wanting that it was not the brilliancy of the spectacle nor the fascination of novelty which kept the interest of the public so firmly fixed, but a real appreciation of the poetry and eloquence of this great work of art. Wagner has been more than twenty years trying to convince people that he has something to say to them; but he has got a hearing at last, and, as might have been expected from the nature of his revelation, the people are much more ready to listen than their musical teachers.”

“The return of Mr. Strakosch’s artists to this City was made public last evening by one of the fine representations of Wagner’s ‘Lohengrin’ of which we have so often had occasion to write. Mr. Strakosch has been loudly praised for the care and liberality shown in the production of this important work, but he has not been overlauded, even by his best friends. The choicest members of his company are brought together in ‘Lohengrin,’ a largely augmented orchestra is assembled; the chorus is strengthened in numbers, and new scenery and costumes are admired from first to last. Wagner’s operas, indeed, exact all this, but every now and then one of the series is brought out with as little ceremony as the most worn specimen of the Italian répertoire, so that the composer’s exigencies are not invariably taken into account. The present management has not screened itself behind the habitual excuses, and spite of its countless needs, ‘Lohengrin’ has had a setting in accord with its author’s wishes. The reward bestowed in shape of large audiences is now a matter of simple justice. On the other hand, it is plain that by attending the representations of ‘Lohengrin’ the public does not merely recompense the impresario, but also adds greatly to its store of enlightenment on a subject hitherto ill understood. Wagner’s music has nerver before been so clearly explained to the average dilettante, and with this explanation has come an appreciation of its excellences which will have, among other results, that of inuring the spectator to the steady attention which can alone enable him to enjoy writings of a high order. If the study of ‘Lohengrin’ has no other benefits, this one at least will follow it. Until this is proven, as implied above, the work attracts, interests, and delights. Last evening’s recital drew a full and fashionable ‘house,’ and wrought the deep impression which no listener who has culture and thoughtfulness can escape. The performance, of course, does not call for review, for it did not differ from the preceding recitals. The spell of the rich music compelled demonstrations at the wonted points, and the beauty and force of the story and score, as a whole, moved the audience more powerfully, if anything, than when ‘Lohengrin’ was first given. The artists have come back much refreshed, and Signor Campanini, whose admirable singing and acting are the conspicuous features of the representation, has not for weeks been in as good voice as last night. Mme. Nilsson endowed Elsa with the personal and vocal charm familiar now to frequenters of the Academy, but in no way less magnetic than when exerted during her earliest labors here. Miss Cary sang Ortrud with her accustomed energy, and Signori Nannetti, Del Puente, and Blum were up to the standard set at the opening of the season.”

“Last evening was the beginning of the end—the first night of the farewell season of the best opera company that has been heard here for many a year, or is likely to be for a long time to come. When Nilsson shall have gone the question, Who can take her place? is one that gets no satisfactory or hopeful answer. Meantime let us enjoy her art while we can, for the 6^th of May soon comes, when the Academy shall know her no more. Already her name is upon the programme of the Royal Italian Opera at Convent Garden, and Sir Michael Costa is impatient to bring out ‘Il Talismano’ and ‘Otello’that wait her coming. The feeling that in these performances she is saying farewell to her many friends in this city doubtless is one that is constantly before her mind. Whether it animates her to greater effort it is difficult to say, for she is such an artist, so strong of nature, and [illegible] to moods, that she always [illegible] to be doing her work as perfectly as she is able, and it may be that it is only a fancy to suppose that in last evening’s performance there was [illegible] warmth and fervor.

Certain it is that Wagner noble, [consistent?] and [illegible] opera was superbly given and [illegible] by the large audience assembled at the Academy with profound attention and every [illegible] of genuine pleasure.

That the ‘Lohengrin’ should by repetition gain [illegible] was a foregone conclusion. It could not be otherwise with audience trained so [steadily?] to appreciate the music of the composer by the efforts of Theodore Thomas and so ready to apprehend whatever is best in art as those of this city [illegible] are. It is a misfortune that the fine example of what opera should [illegible], spectacle and drama, [remaining fourteen lines illegible].”

“So the Strakosch troupe, despite the fact that their recent experience in the Quaker city was unusually satisfactory, are very well pleased to be back again in New York. Their singing of ‘Lohengrin’ last night was admirable. Never has Nilsson shown greater pathos and tenderness in the weird strains which Wagner has allotted to Elsa, and never has Campanini sung with greater effect. The house was well filled, and the auditors received the prima donna and the tenor, as well as Miss Cary and Del Puente with every mark of favor. The whole opera passed off brilliantly, and the music of Wagner last night received another successful and happy illustration.”

“The performance of ‘Lohengrin,’ which signalized last evening the return of the Strakosch Opera Troupe from their provincial tour of a fortnight, was, in many respects, the best representation of Wagner’s opera of the half-dozen performances of the work given by the same company in this city. The additional points of excellence were in the increased dramatic fire and breadth of tone, like unto her Valentine, of Mme. Nilsson and the enterprising manner in which she forced even the composer, adverse as is his music towards the individuality of any vocal artist, to allow her transcendent genius to assert itself.”

“The unpleasant weather of yesterday and the fact that Thursday is an unusual day for a matinée made no difference with the musical public, and the ‘Lohengin’ matinée at the Academy of Music was a brilliant success. The house was crowded to excess, and the applause was liberal. It is certain that ‘Lohengrin’ has taken a firm hold on the affections of our opera-goers, and it is to-day the most attractive opera which could possibly be brought to their notice. The great success obtained in this work by Nilsson and Campanini will always associate their names with the development of the Wagnerian mania in our midst. Di Murska, who has banished herself to the dreary wilds of the Stadt Theatre, and will there delight our German citizens, intends, we are told, to appear in Wagner’s ‘Flying Dutchman.’ It is to be regretted that this superb singer cannot be heard in the Academy of Music and under better auspices. Why did Strakosch permit Rullmann to secure this prize and bury it in the wilds of the Bowery?”

“The matinee of ‘Lohengrin’ yesterday drew to the Academy of Music one of the largest houses of the season. Even the horrible condition of the weather failed to dampen the ardor of our music-loving public. ‘Lohengrin’ has, so far, proved the luckiest of Mr. Strakosch’s operatic ventures; but the disciples of the Zukunft school must not imagine that their Wagnerian idol constitutes the sole attraction. The real cause of the overwhelming success of this opera may be looked for in the truly magnificent manner in which it is produced. Lavish liberality in operatic management has produced the result which we long ago predicted it would when tried. The story of an opera gives an ample opportunity for scenic, choral and orchestral display, and the exceptional brilliancy of the impersonations of the principal rôles by Mme. Nilsson and Signor Campanini, with the artistic efforts of Miss Cary, Del Puente, Nannetti and Blum present magnetic attractions. That the grandeur of the instrumentation of Wagner will always win the attention and admiration of musicians no one can justly deny, and it loses nothing under the experienced direction of Signor Muzio. But as far as the voice is concerned, the school of Richard Wagner cannot be accepted as a true one, and, although it may be the fashion now with some to praise it to the skies and commend its glittering theories, yet its utter want of practicability and real sympathy will destroy it in the end.”

“’Lohengrin’ is riding on the topmost wave of popularity. It was repeated last Saturday night, was interpreted in superb style, and seemed to be received with greater favor than at any previous representation.”