Strakosch Italian Opera: Il Trovatore

“Sig. Carpi made a much finer impression with the role of Manrico, which he filled last night, than with either of his previous personations, and it may now be said with truth that he has justified the expectations the manager seems to have formed of him. A voice of great compass, abundant strength, and resonant and agreeable quality; a perfectly unaffected style; a delivery not faultless, but often extremely effective; a beautiful manner of phrasing; a quick comprehension of the most telling passages of the music—these are the best of the many good things about the new tenor which will secure for him a gratifying popularity. If his taste and his studies are properly directed now, at the outset of his career, he may easily become one of the great tenors of this generation. It was not until the third Act last night that he displayed his powers properly, and he did it then not so much by the ‘Di quella pira,’ with its clear and easy high chest note (we hardly think, though, it was the C,) as by the charming refinement and sensibility of the romanza which preceded it. He was called out three times after the fall of the curtain. In the Tower scene he confirmed and even increased his triumph, and in the last Act he was again admirable. The Leonora of Mme. Potentini was one of the most passionate our stage has seen and though we might object to it that it was lacking in artistic reserve, it certainly displayed to perfection the power of the lady’s voice, and gave ample scope for those broad effects upon which she chiefly depends for success. Miss Cary, thorough in everything, was an irreproachable Azucena; and Sig. Del Puente, whose voice seems to have gained a great deal of richness as well as power since he first sang in New York, was entirely at home in the character of Di Luna. The performance as a whole was creditable, though it could hardly be called brilliant.”

“The singing of Signor Carpi was the most prominent trait of last evening’s representation of ‘Il Trovatore’ at the Academy of Music. It was a very artistic effort, and it was as effective as it was artistic. The beauty and power of Signor Carpi’s voice were never made plainer, and while its good qualities were shown to unusual advantage in those passages of the opera which it is impossible to listen to without a thrill, the whole personation set off the excellence of his style as a vocalist of the pure and unaffected Italian school. When mention has been made that ‘Il Trovatore’ was recited, there can be little uncertainty as to the place and significance of these passages. In the first act, the serenade profited by the richness of the tenor’s tones, and, especially, by his ability to sustain them; in the second, ‘Mal reggendo’ offered an opportunity for vigorous and expressive cantabile declamation; and, in the third, the exquisite adagio, commencing ‘Ah si, ben mio,’ supplied evidence that Signor Carpi can execute with sentiment and taste, as well as with the robust energy of a genuine tenore di forza. The defiant ‘Di quella pira,’ at the close of this act, was too welcome a chance for the artist to sound his high C to be overlooked, and the usual addition to the written music was made, with the difference that there was no attempt to dwell upon the note. This record of Signor Carpi’s points, so to speak, must further include ‘Ah, che la morte,’ which we scarcely remember to have heard executed with an equal wealth of tone and charm of reading. The personage of Leonora by Signora Potentini, was not remarkable, either dramatically or lyrically, and the delicate grace of ‘Tacea la notte’ and the ‘broidery of ‘Amor sull’ ali’ were somewhat unceremoniously treated. Signora Potentini’s powerful organ was more suited to the concerted numbers, and the striking finales of the first and second acts benefited materially by her co-operation. We need but add that Miss Cary’s Azucena was quite as fine a portrayal as last season and that Signor Del Puente’s Conte Di Luna merits similar praise. The orchestra and chorus were as proficient as heretofore. Signor Carpi was three times recalled after ‘Di quella pira,’ and the applause throughout the evening was frequent and hearty.”

“At the Academy of Music last night, Mme. Potentini sustained the part of Leonora in Verdi’s popular opera, ‘Il Trovatore.’ Miss Cary appeared as Azucena, and Signors Carpi, Del Puente, and Scolara respectively as Manrico, Count di Luna and Ferrando. It cannot be said the Mme. Potentini sang the favorite cavatina, ‘Tacea la notte placida,’ in the first act in her most eloquent and finished manner. In the passage where the voice rises and expands as in a transport of ecstatic joy to the climax on B flat, the notes produced were not of the best quality, nor on the repetition of the same phrase, or in the succeeding cadenza, was the tone improved. The following allegro, ‘Di tale amor,’ was hurried, and the notes of the run were slurred together.

However, the audience applauded loudly, feeling sure that Mme. Potentini was, as on the previous occasion, over-excited and nervous, and then, as before, she sang the whole of the rest of the opera extremely well. The ‘Contende il giubilo’ was given with surprising vivacity and remarkable brilliancy, and the light tripping passages, which are similar in rhythmic structure and general character to those in ‘Di tale amor,’ were here most clearly articulated. In the Pezzo Concertato at the close of the second act, great feeling was displayed, and the tones of the voice on the English vowel ‘e,’ instead of being hard and shrill, were comparatively liquid and full. The aria ‘D’amor sull’ali rosee,’ in the fourth act, was delivered with great pathos, and the cadenza exhibited a compass of more than two octaves, for after an arpeggio the final passage led downwards to a very broad and strong note on low A flat. But in the ‘Miserere’ the greatest success was made. Mme. Potentini sang it with intense fervor and passion, bringing out the full meaning of each phrase with wonderful power. She appears to best advantage in all those points where great internal agitation is expressed on rather low notes, on which occasions her chest voice is extremely valuable in giving force to the tone in emphatic parts which require great power.

Mme. Potentini received the warmest encouragements from time to time throughout the entire performance, and has now, it is hoped, the fullest confidence in the kindness and cordiality of New York audiences.

Miss Cary’s Azucena was signally successful. She displayed with almost painful vividness the intensity of emotion, fiery vehemence, wild convulsions of unrestrained anger, fierce vengeance and deathless hate of the Gypsy. Her general aspect riveted the attention of all. Miss Cary has deservedly won, and she will not readily lose, the high reputation she enjoys.

Signor Carpi sang in the unreserved manner which distinguishes him from the great majority of tenors. The ‘Di quella pira’ was delivered with considerable power. His tones were especially strong, emphatic and vigorous, and towards the close a most brilliant note was produced on high C, which raised the audience to the display of great enthusiasm.

This song seems well suited for the exercise of his special gifts. But the character of the tone of the voice, being so solid, firm and manly, does not readily lend itself to the expression of great tenderness and feeling. For this reason it may to some appear comparatively unsympathetic and unaffecting in such a scene as ‘Ah! che la morte,’ where, however, the composer himself aims rather at the formation of a pleasing, singable melody than the expression of deepest grief, and therefore the emotion must be exhibited in the fluctuations and tremblings of the tones themselves, or it will not be expressed at all. Signor Carpi, fortunately, does not indulge in the vibrato style. He sang magnificently in the terzetto of the fourth act, delivering the phrase ‘Ha quest infame l’amor venduto’ with great warmth and vehemence. He well deserved the many marks of approbation which were accorded.

Signor Del Puente was encored in ‘Il balen,’ and his efforts in other pieces were also fully appreciated.

Miss Cooney and Signor Scolara acquitted themselves admirably.

Objections have been raised against Wagner’s elaborate instructions to the singers, stage operatives, &c, and also to his numerous directions as to postures, gestures, groupings of personages and scenic contrivances, but it is evident that all operas would be presented much more satisfactorily if greater attention were paid to details, and what at first sight may appear trifles. The handles of the swords used in ‘Faust’ should, when elevated and presented to the notice of Mephistopheles, exhibit the ‘sign of the cross,’ and thus bring out the significance of the act and make its power over Mephistopheles understood.

The irritation produced last night in the first part of the opera, by the effect of the pink and the cherry colored dresses of Leonora and her companion, tended to mar the complete enjoyment of the music.”

“Twenty years ago Verdi’s opera, abounding, as it undoubtedly does, in charming melodies, concerted effects and orchestral attractions, might be considered as a piéce de resistance of an Italian opera season. But to one who has seen and heard Grisi, Didier, Mario and Susini in one cast, Tietjens, Viardot, Garcia, Giuglini and Graziani in another, and Lagrange, Phillips, Brignoli and Orlandini in a third, Parepa, Rosa, Phillips, Wachtel and Santley in a fourth, and Nilsson, Cary, Campanini and Del Puente in a fifth, not to speak of a hundred others, the representation last night at the Academy was not calculated to around enthusiasm. The cast was as follows [lists cast]. There were many excellent features in the performance, one notable one being the admirable drill of the chorus and orchestra by Signor E. Muzio. To begin at the beginning of the attractive points we must speak first of the tenor. He delivered the familiar numbers with something more than traditional power. Even in the grand trio that ends the first act his fine voice and nervous, impassioned style of lyric declamation were at once recognized. Immediately before this time honored number he gained applause with the trying serenade, ‘Deserto sulla tena’—trying because it introduces the tenor in a very ineffective manner. The popular ‘Di Quella Pira’ was rendered with the accustomed dash and spirit, but was less to be considered in a musical point of view than the exquisite phrasing and expression of the preceding andante, ‘Ah! Si, Ben Mio,’ which showed the artist in his brightest light. In the ‘Miserere’ scene the tenor shone with real brilliancy and drew another encore. Mme. Potentini, whose voice is marvelously like that of Zucchi, did not attain the success in the rôle of Leonora that might be expected by those who witnessed her magnificent triumph in Verdi’s last opera on Wednesday last. Leonora calls for an extensive range of voice (we might say of a Creedmore standard), and Mme. Potentini’s voice is not effective in the higher notes. The strength of her voice lies in the chest tones, which are full of expression and passion. In the cabaletta of ‘Tacea la Notte’ and the aria preceding the tower scene, ‘D’Amor sui Ali Rosee,’ in which many high notes may be found, the voice of Mme. Potentini had evidently an effort to reach them. But in other respects the broad emotional character of her voice, far surpassing that of Lucca in dramatic effect, made itself felt. The Azucena of Miss Cary is an old theme to dilate upon. Suffice it to say that it now stands as the best representative of the vengeful gypsy on the American stage. Del Puente deserved commendations in the rôle of the jealous Count, and his rendering of ‘Il Balen’ was something to be remembered. When in the name of art will the seedy surroundings of this opera give way to something more in consonance with modern requirements? The mise en scène and stage appointments are at all times a reproach to art, and it is about time that something should be done by the stage manager to relieve the monotony of twenty years. If an impresario of to-day will present an old opera, then let us at least have a new dress for his ancient highness. Let not ‘Aida,’ ‘Lohengrin,’ and ‘Ruy Blas’ carry off all the honors in this respect.”