Strakosch Italian Opera: Figlia del reggimento

“It was a fair performance last night of a pretty and once popular opera, so long disused that its well-worn tunes might have been expected to put on a smart and fresh appearance for the revival. It may be questioned, however, whether not merely this bright little opera of Donizetti’s, with its rollicking songs, its drums and muskets and flags, its vivacious heroine, and its conventional comic old man, but the whole class of works which it represents, has not seen its day. People are no longer content with the music over which one gently smiles. They look for more stimulating entertainments—tears, madness, agony, and heroism at the opera house, and the heartiest sort of farce on less pretentious stages. ‘La Figlia del Reggimento’ consequently awakened last night but a languid public interest, and it is not likely, at least for the present, to resume its place in the standard repertory. The Maria of Mlle. Heilbron is not an exciting but a very agreeable little vivandière. She sings the music gracefully, easily, and in some parts brilliantly, and her action is always correct and lively. In the singing lesson scene especially she displayed a fine vein of humor, and once or twice she carried away the house. It is clear that she is a valuable artist, who does all her work well, and if she never rises above a certain level of moderate excellence, she certainly never falls below it. She was zealously seconded last night by Sig. Scolara, who played Sulpizio as if he enjoyed it. Sig. Benfratelli took the part of Tonio, introducing in the second Act the romanza ‘Una furtiva lagrima,’ from the ‘Elisire d’amore;’ and the subordinate rôles were intrusted to Miss Cooney, Mr. Hall, and Sig. Capra.”

“The performance of ‘La Figlia del Reggimento’ at the Academy was less attractive than its predecessors. Donizetti’s sparkling music does not gain by the substitution of long recitatives for the brisk dialogue of the original French work; and, in any case, productions of this order cannot but appear unimpressive after the masterpieces of the modern répertoire. Variety, however, being the spice of life, is not an element to be left out of a manager’s calculations, and ‘La Figlia’ was probably chosen for recital merely to diversify the series of entertainments commenced with Verdi’s vigorous compositions. Last night, Mlle. Heilbron personated Maria, Signor Benfratelli Tonio, and Signor Scolara Sulpizio. Mlle. Heilbron sang her numbers, from ‘Clascun dice’ to the patriotic élan in the third act, nicely, and acted with considerable spirit. But the excellence of her performance would have been clearer in a house better suited in point of size to opera comique than the Academy. Signor Benfratelli, who possesses a sympathetic voice, and is thoroughly in earnest, played his part, à l’italienne,  and recited Tonio’s notes—except the terzetto in the third act, which he spoiled—correctly and tastefully. And Signor Scolara portrayed Sulpizio with his wonted jollity. After ‘Salut à la France’—of which we forget the Italian words—there was an encore, and when the curtain had fallen the artists were summoned before it. Representations of this kind, good though they may be, only whet the appetite for more substantial repasts, and we shall listen to ‘Aida’ to-morrow with increased satisfaction.”

“An exceedingly good representation of Donizetti’s ‘The Daughter of the Regiment’ was given last evening at the Academy. Miss Marie Heilbron, the prima donna, appeared to more advantage in the character she assumes in this opera than in any she has thus far taken. The vivandiere costume was well suited to her pretty and graceful figure, the cocked hat became her face, and the light music was perfectly suited to her voice. She sang it with that real or seeming artlessness that is the truest art. It is very pleasant to listen to a singer who has so little of that vanity and self-consciousness and so few of those affectations that mark many spoiled public favorites. Miss Heilbron was in unusually good voice, and though her acting lacked coquetry and by-play in some parts, and animation in others, her singing was irreproachable. The other two rôles—for it is substantially a three-character opera—were taken by Benfratelli and Scolara. The tenor sang the light music very acceptably, and Scolara, with his big, fine voice and intelligent action, gave a capital representation of Sulpizio, the bluff old Sergeant. The chorus, which plays an important part in this opera, was unusually correct and effective.”

“Donizetti’s [bright, cheerful?] and [amusing?] opera ‘La Figlia del Reggimento’ was produced at the Academy of Music last night with great success. It was [accepted as a?] [illegible] novelty, although Mme. Pauline Lucca had given it twice, and the [illegible] Mme. Parepa-Rosa once quite recently. Mlle. Marie Heilbron appeared as Marie and won golden opinions. She could not fail to please and add fresh laurels to a wreath but newly [woven?]. Her Marguerite was admired more than her Violetta, because the part itself was more agreeable and elaborate. The music of Donizetti’s opera afforded an opportunity for the display of most brilliant vocalization, and the part of Marie differing greatly from those Mlle. Heilbron had already assumed enabled us to form a still higher opinion of her general culture. Without being extravagant, [or?] demonstrative or violent in manner, she gained the complete attention of the audience as by some subtle influence. This is very gratifying to those who have been surprised and amazed so frequently at the opera by the exhibition of some specialty in a singer which has soon come to be regarded as a wearisome and uninteresting mannerism. Mlle. Heilbron does not depend on any one point of excellence, but on many, and these are so well balanced that the characters she assumes are many-sided. When she creates a good impression it is lasting and leads to a preference, which is not an unreasoning one, but is based on rational reflection. It would, therefore, be manifestly incorrect to say that she is a phenomenon who does marvelous things, startling the audience with some unexpected tours de force; and also unjust, for the refinement perceived in her dress and bearing, the highly artistic finish noticeable in her impersonations, her unobtrusiveness and the absence of all vulgar altiloquence in her style should lead one to conclude that she does not aim at creating astonishment. Nor is it to be desired that she should; for though astonishment is frequently the beginning of all knowledge and interest, it is likewise the end thereof when the result of meretricious displays in art.

In the ‘Apparvi alla luce’ Mlle. Heilbron was directed by the composer himself to execute long shakes and brilliant bravura passages. After what has been said it is scarcely necessary to add that these were executed with great fluency, distinctness and rapidity.

The favorite canzonet in the first act, ‘Ciascun lo dice,’ in the martial style, which passes over to a light, vivacious strain, was rendered characteristically. In the amazing terzetto of the second act the faultless execution of the florid ornamentation in caricature was specially noticeable. These difficult strains were sung as intended by the composer, note for note, and not altered in the ad captandum style which many favorite singers adopt to hide the defects in their school or want of real ability.

Although the chief beauty of Mlle. Heilbron’s voice consists in its excessive purity, mellifluousness and liquid character it is not deficient in power, brilliancy and range, for in ‘Chi nacque’ in the third act she rose successively to high C, D flat and E flat; the latter note being held firmly, and heard towering above the combined force of both orchestra and chorus, which were then being fully employed. When, after a unanimous encore, this note was given again, it was even improved in quality and strength. It was not shrill, piercing, strident tone flashed forth irregularly like an uncertain lurid light; nor did any evidences of painful effort or even great exertion attend its production. Mlle. Heilbron’s countenance retained its habitual pleasing expression throughout, and she appeared to sing impulsively. If she continues to use the voice carefully, that its development is not arrested, she will enjoy a most highly successful career on the lyric stage. Her acting is distinguished by excessive good taste, freedom from affectation, pretension and exaggeration, and yet is not stiff, formal or apparently studied. The audience testified their enjoyment and high appreciation by loud acclamations.

Signor Benfratelli made his appearance in the part of Tonio. His style of singing being very tasteful, is best suited to the peculiar character of his voice. The quality of the high notes were especially good. We were disappointed in not hearing the cavatina ‘Feste! Pompe!’ of the first act, which would have enabled Signor Benfratelli to appear to great advantage. He was entitled to a considerable share of attention and applause.

Signor Scolara’s admirable singing and humorous acting as Sulpizio added greatly to the general good impression made by the representation.”

“Donizetti’s opera, written for the Opéra Comqiue, Paris, was produced last night for the purpose, we suppose, of giving Mlle. Marie Heilbron, the Marie of the occasion, an opportunity to display her talents as a bravura and, as the Germans would say, ‘coloratur’ singer and as a soubrette. In both respects she gained the desired point. Her Marie is full of clever acting and brilliant singing. The time honored numbers assigned to the prima donna were given with an effect and dash that enhanced their value considerably in the minds of the musicians present. Signor Benfratelli made a very pleasing Tonio and sang his music commendably, and Signor Scolara acted the part of the gruff old sergeant to the life. The success of Mlle. Heilbron was all the more remarkable, considering that we have had such representatives of the role of the Marie as Thillon, Nau, Pyne, La Grange, Piccolomini (the best of all), Laborde, Cora de Wilhorst, Parepa Rosa and Kellogg. But in regard to such a success we may safely say, Le jeu ne vaut pas la chandelle. The time has passed when such a baby opera can satisfy the public. With all Wagner’s faults we must concede him the honor of giving the world an idea and taste in operatic matters more in consonance with aesthetic rules than any of his predecessors. He has written music in accordance with such rules, and he has explained it also. ‘The Daughter of the Regiment,’ at this day, must take its place with ‘Madame Angot’s Daughter,’ or some work of the kind. It cannot be galvanized into grand opera. The public want something more substantial in the line of operatic food than lyric candy. Verdi, Meyerbeer, Marchetti, Gounod and others have the public ear at present, and opera comique productions should be relegated to their proper sphere.”