Strakosch Italian Opera: Faust

“The Margherita of Mlle. Heilbron is distinguished by grace and prettiness rather than by those qualities which have made the personations of her two nearest predecessors in this opera so remarkable. In none of the scenes, save perhaps one, does she fall short of the absolute requirements of the situation, yet in none does she stir the imagination of the audience. The performance is neat, agreeable, well conceived, and skillfully executed. The music is sung without elaborate display but with art and with taste, and in all the greater passages the prima donna gives evidence of considerable feeling. She makes a great mistake we think in the Vision of the first Act, where the curtain rolls away and she is discovered driving her spinning wheel at top speed, and tugging at the flax with most prosaic industry; the motion here destroys the illusion of the tableau. She gives the Jewel-song with less brilliancy and abandon than we are accustomed to, but with a piquancy of her own which some people will like better. She makes no grand and thrilling effect with the Church scene, and this portion of the opera was moreover marred last night, as it was last year, by being taken out of its proper place and put before the death of Valentine. In the last part of the Garden scene, however, she was admirable; but whether a tender and natural personation like hers will satisfy a public long stimulated by passionate outbursts of dramatic fervor we may be permitted to doubt. While Mlle. Heilbron, in short, won a great deal of favor, she hardly confirmed the good impressions of her debut, and indeed in ‘Faust’ it was almost inevitable that she should cause more or less disappointment. She could not be a second Nilsson, nor a second Lucca, for the Margherita of each of those artists is unapproached. Sig. Carpi, in the role of Faust, did less than was expected of him. His voice was in bad order, and he hardly got control of it until the third Act, where, in the Garden scene, he sang with excellent taste, and won several rounds of applause by the sustained and swelling high notes upon which he is evidently inclined to rely. We trust the proverbial fondness of an American audience for ‘spurts’ will not lead this young and promising young artist to abuse his rich gifts and spoil a style which is shaped after excellent models, but not yet wholly formed. We can say very little for Sig. Fiorini’s Mephistopheles; but we had, of course, a charming Siebel in Miss Cary, and Sig. Del Puente gave a capital representation of Valentine. The improvement in Sig. Muzio’s orchestra is a steady source of satisfaction.”

“‘Faust’ had been chosen as the opera for the third performance of Mr. Strakosch’s season, and was accordingly given at the Academy of Music last evening. The rehearsals for the works represented thus far must have been numerous and careful, for equally smooth recitals would be extremely creditable did they come at the close of a long series of entertainments and not at its outset. The principal artists are thoroughly au fait of their respective tasks, and the orchestra and chorus are proficient in an extraordinary degree. We remember no period at which a greater sum of steady satisfaction could be derived from the operas to be listened to in this city. Yesterday’s interpretation of Gounod’s well-known score was very effective and very precise. Its excellence in the latter respect is not to be despised, for the habitual opera-goer need scarcely be reminded that what we might call ragged renderings of ‘Faust’ have been plenty. Both Signor Carpi and Mlle. Heilbron, new to us a week ago, yesterday strengthened their position in the good graces of the public. The tenor has a remarkably fine voice, and uses it cleverly. He is, however, a tenore di forza rather than a tenore di sentimento, and it was plain, remembering his personation of Radames, witnessed Wednesday, that the more robust the music the better fitted the artist to its delivery. A fine phrase in the second act, coming just after Margarita leaves the stage; the impassioned exclamation of Faust, when he acquires the certainty that the maiden loves him, and turns to fly from her dwelling until the dawn which Margarita is so soon to summon; the vigorous passages at the close of the trio in the fourth act, and the final duet in the prison-scene were Signor Carpi’s fairest opportunities for distinction in ‘Faust.’ He profited by one and all, the high notes being invariably taken with ease and surety, and sustained with unflagging power. Signor Carpi sang ‘Salve, dimora,’ very neatly, but an awkward phrasing of the close—for the adoption of which, possibly, Signor Carpi is not responsible, lessened somewhat the favorable impression first produced. In the duet, Signor Carpi was quite at ease. Mlle. Heilbron approved herself an intelligent, skilled, and fascinating representative of Margarita. She read the music tastefully and correctly, and acted with excellent judgment and exceeding grace. Mr. Strakosch’s young prima donna did not, to be sure, attempt to bring before the public a heroine conspicuous for any traits which the artist’s predecessors had not previously endowed her with; but she presented a charming picture, replete with delicate touches, and consistent in every detail. Vocally, Mlle. Heilbron’s achievement left nothing to be wished. The pretty portion of the third act, in which, in half-recitative half-song, Margarita tells Faust of her early life, was imbued with decided expressiveness; the duet with the rejuvenated philosopher was carried on, sweetly and poetically, to a strong climax; and, even in the church scene, the training of the comedienne assisted her to a result her rather frail physique seemed to place beyond her reach. The last duet went nicely, and the curtain fell, as it did on the finales of the preceding acts, amid loud applause. With the singers above-named appeared Signori Fiorini and Del Puente, and Miss Cary. Of the familiar and acceptable portrayal of Siebel by the lady, and the sympathetic voice and manner of Signor Del Puente in the rôle of Valentino, it is only necessary to observe that the exertions of the two performers elicited tokens of hearty approval. Signor Fiorini, who is a practiced artist, endowed on Mephisto the wonted characteristics of that semi-comical, semi-sinister personage.”

“‘Faust’ was given last evening at the Academy of Music, the principal roles being taken by Mlle. Heilbron, Signor Carpi, Miss Cary, Signor Del Puente, and Signor Fiorini.

Mlle. Heilbron was, of course, the Marguerite. This is a character on which Madame Nilsson has so distinctly set her mark that every phrase of the music is associated with her manner of rendering it, and it is difficult to accept any other ideal of the character than the one she looked and sang and acted. But aside from the vain regrets that her audience associates with the opera, and judged on its own merits, Mlle. Heilbron’s representation of the character is a symmetrical, poetic, and beautiful one; somewhat lacking in warmth and color, but tender and maidenly in conception, and sung with simplicity and beauty of style and voice. Indeed, save the representation of the character by Nilsson, we recall none more satisfactory than the one she gives.

As much cannot be said for Signor Carpi, who has not the suavity or lyric qualities adapted to ‘Faust.’ The more dramatic rôles will be found to be those in which he will have the largest measure of success. His Salve Dimora, a romance in which Capoul never failed to arouse the sentiment of the house, lacked sweetness, delicacy, and refinement. Nevertheless Signor Carpi is a good and true artist, and will so approve himself in other operas, though in ‘Faust’ he will make no special mark.

Miss Cary received the only recall of the evening, and Del Puente sang with even more than his accustomed fire. Fiorini is but a tame Mephistopholes, and in voice and action was equally inefficient, quite misconceiving, in our judgment, the famous church scene.”

“Mlle. Marie Heilbron and Signor Carpi appeared in ‘Faust’ at the Academy of Music last night. The good taste and refinement displayed by Mlle. Heilbron as Violetta led many persons to assume that her Marguerite would also be thoroughly in keeping with the German ideal, namely, that of a pure, guileless village maiden, temporarily overcome by demoniacal influence, who seeks and obtains Divine love and forgiveness, as distinct from other conceptions of the character. Her acting is not a servile imitation of other successful artists, for it is evident that the impersonation of Marguerite is the result of a careful, conscientious study of Goethe’s greatest work. Yet if, without intending to institute a comparison, we are reminded occasionally of Madame Nilsson’s voice and manner, our gratification is not lessened on this account. The song of the ‘King of Thule,’ that does not dispel the day-dream, but is even stopped for the soliloquies, and the subsequent discovery of the flowers and casket which leads to the ‘Jewel aria,’ were all well given. Mlle. Heilbron’s trills are very rapid and most perfectly in tune. There is a tendency on the part of many singers to depress the upper note and raise the lower one, especially in making tonal shakes.

The audience encouraged and stimulated Mlle. Heilbron with most hearty acclamations, and thus reassured she sang with still greater success ‘O Silenzio,’ the duet ‘Sempre amar!’ in the cathedral scene, and the finale. Her voice will, if carefully used, become much stronger in time. At present its excessive purity, smoothness and liquid character are its greatest charms. Her method is admirable.

Signor Carpi’s Faust gave great satisfaction. From the opening phrase of the opera, ‘No! interrrogo,’ to his last expression ‘Margherita,’ every note, word and movement appeared to exercise some irresistible spell. The lovely melodies ‘Dammi ancor,’ ‘Notte d’amor,’ and the cavatina ‘Salve! Dimora,’ were delivered most eloquently. The high B natural which occurs in the rhapsodical utterances that follow the first meeting of Marguerite was prolonged con amore, and its electrical effect was succeeded by thunders of applause. It should be remembered by those who are fond of making comparisons, and of high tenors, that at the present pitch of the orchestra, this note B natural is but a very few vibrations slower that the celebrated ‘ut’ of Tamberlik. The prolonged B flats in the trio, and the A in ‘Dammi ancor’ which is accomplished by a high C from the horn in the orchestra, were magnificent notes.

Signor Fiorini sang and acted well. The song of the ‘Calf of Gold,’ which has a very florid accompaniment, did not oppress or overwhelm the voice, though it seems wanting in power and weight for a Mephistopheles. The scena ‘E tempo al-fin,’ which contains a beautiful accompaniment for harp and horn, and the serenade, were most thoroughly enjoyed.

Signor Del Puente’s sonorous voice was heard to great advantage in the scene ‘Le Morte di Valentino,’ and his singing of the interpolated song, ‘Dio possente,’ was remarkable for its pathos and energy.

The part of Siebel was sustained by Miss Cary, who always realizes our expectations, and, by keeping a reserve force, frequently creates surprises by still greater displays of power and volume of tone. Her singing of the ‘Flower Song’ was unanimously encored, to which demand she most graciously acceded notwithstanding the evident risk of creating confusion on the stage and misunderstandings with the orchestra. On leaving the opera we felt disappointed that the pleasure of hearing Miss Cary sing the lovely romanza ‘Tutto il creato’ of the appendix was denied us. The choruses and accompaniments were all well performed.”

“Of all the lyric works that have been produced within the past quarter of a century, none has taken the same hold as the chef-d’oeuvre of Gounod. Founded on the immortal creation of Goethe, although the librettist has indulged in many unwarrantable liberties with the story, and Faust, the title role, occupies but a subordinate position in the opera, yet the characters of Gretchen, Valentine and Mephistopheles are always charming in the treatment of the great French composer. Miss Kellogg occupied for many years the distinction of being the first and only representative of the principal role. Then came Nilsson, with her sweet Scandinavian face and Ary Scheffer portraiture, and she was recognized as the dual creation of Goethe and Gounod. Lucca discarded the conventionalities of the role, and won distinction in her own novel style of representation. The last essayist of the trying role is Mlle. Heilbron, and she made her true American début in it last night. The cast of the opera on the occasion was the following [lists cast]. To criticise, it is better to particularize. The first act, unaccountably weak and uninteresting, introduced the tenor and basso. The struggle of the old philosopher between duty and temptation, and the long elaborate argument of His Highness the D---, are inadequately placed in lyric form. Yet, some glimpses of genius may be shown in this act. Signor Carpi was conventional and therefore uninteresting. In the second act, the ‘Kermesse,’ it is necessary to adopt a grand mise en scene and ensemble to give the music proper effect. This was wanting last night. There was the same well-known presentation and nothing more. This scene may be a grand success, as it achieves in Paris and as it never does in New York. The garden scene (Act 3) is the real lyric commencement of the opera. Here Marguerite and Faust have an opportunity of displaying their lyric qualities. The ‘Salve dimora’ of Signor Carpi was correctly sang—much better, in a musicianly point of view, than the rendering of his predecessor, M. Capoul; but it lacked the fervor and passion of the French tenor, and did not produce the same effect. A tenore robusto is out of place in such a rôle as that of Faust, and cannot be expected to make as much of it as one of those éléves of the Paris Conservatoire that make it an especial study. Yet the pure Italian voice, on this occasion resembling that of Campanini, more than in ‘Aida’ proved to be, in the musical sense of the word, entirely agreeable. Mlle. Heilbron seems to have taken Mme. Miolan Carvalho as her model. In this respect she follows the example of Mme. Nilsson. The air des bijoux was an exact reproduction of the eminent French prima donna. In the subsequent duets with Faust, ‘Notte d’amor’and ‘O Silenzio,’ Mlle. Heilbron sang with a degree of fervor and expression, and in the concluding aria of the scene at the window, ‘Ei m’ama,’ the timbre of her voice seemed to be too light to give due effect to this passionate outburst of a young maiden’s love. The church scene, properly placed before the return of the soldiers, fell flat on account of the absence of dramatic surroundings and the weakness of the basso. Signor Fiorini’s voice is not of the caliber necessary to do justice to one of the most trying rôles in opera, and his style of acting is exceedingly demonstrative, without being effective. Two rôles were magnificently rendered, and those were the Valentine of Signor Del Puente and the Siebel of Miss Cary. The barytone introduced the celebrated aria written expressly for Santley, and did it full justice. The representation last night may be briefly summed up as a succes d’estime, and Mlle. Heilbron acquitted herself as an artiste possessed of an agreeable, sparkling, well cultivated voice and an actress of experience.”