Strakosch Italian Opera: La Traviata

Roster, repertory

Roster, repertory

Roster, repertory

Max Strakosch’s forthcoming season of Italian opera, Academy of Music; roster, repertory.

Comments on Strakosch’s announcement. 

Comments on Strakosch’s announcement of his forthcoming season.

Differing particulars from statement made public in the spring; roster, repertory.

Season dates, roster, repertory

Roster and repertory

Repertory, prices

The approaching season of Italian opera

Roster, repertory

Interview with the conductor with respect to the forthcoming season

Roster, repertory

Arrival in New York of several of Strakosch’s artists; anticipated early recital of Marchetti’s Ruy Blas.

Strakosch’s forthcoming season.

Biographical sketch of soprano Vittoria Potentini.

Forthcoming season 

“The Academy doors were thrown open last night for the first time this season, and it looked its prettiest, the audience being large and the boxes, circle and parquet abounding in handsome toilets. Italian opera has now become, not only a fashionable necessity but a species of entertainment to which a very numerous artistic public looks forward with interest. Although many of the patrons of opera are still in the country, the undue warmth of the first of the fall months suggesting a prolonged stay at the seaside or mountain resort, yet there was an ample representation last evening. Curiosity was ripe among the old habitues as to the caliber of the new company, although only two artists were afforded an opportunity of displaying their talents, and in the boxes sat other members of the troupe who were anxious to gain an acquaintance with our public from such posts of vantage before trusting themselves to the perils of the footlights. In one box sat the coming Aïda, Signora Potentini, who will make her first essay to-morrow night. In another was Mlle. Donadio, who will appear next week, and in a front loge smiled the ever-popular prima donna contralto, Miss Cary. Tenors, baritones and smaller representatives of the lyric drama were plentifully scattered around the house. Although in these latter days of ‘Lohengrins’ and ‘Aidas’ ‘La Traviata’ seems but a tame work, yet it has one rôle, at least (the title one), which seldom fails to gain sympathy and applause. We have had some excellent representatives of ‘La Dame Aux Camelias’ in this city, Piccolomini, Colson, La Grange, Gazzaniga and Nilsson being the most notable. The new Violetta, Mlle. Marie Heilbron, has the advantages of youth, beauty, dramatic passion and lyric cultivation. Her voice is fresh, pure, limpid and sympathetic, and she uses it with true artistic judgment. When she came on the stage an obvious nervousness marred her initial efforts, but she gained confidence as she became accustomed to the house and the public, and in the well known ending of the first act, ‘Ah fors e lui,’ she invested the dream of love in which Violetta’s heart revels with all the tenderness, warmth and expression it demanded. Her leave-taking with Alfredo in the second act was tinged with a tone of anguish that found its way to the hearts of her hearers. In the single line, ‘Amami, Alfredo, quant io t’amo! Addio!’ she abandoned her voice and soul to the sentiment of the moment. The insult offered to Violetta in the succeeding act, in the scene at Flora’s residence, by her lover, in the presence of a numerous company, gave Mlle. Heilbron an opportunity for dramatic display that she availed herself of. But her most striking success was in the dying scene of the last act, and rarely has the passionate exclamation, ‘Gran Dio! morir si giovane!’ been delivered with more effect. There is every reason to predict for the lady an enviable popularity in her new field of artistic labor. A word must be said here about the exquisite taste that characterized the toilets of Mlle. Heilbron last night, and drew expressions of admiration from the ladies present.

Signor Benfratelli  made his début as the lovesick, jealous and generally foolish Alfredo not a role designed for any shining results. The new tenor has a light, agreeable voice, homogeneous in tone through all its compass, and in the use of the messa voce Signor Benfratelli showed much taste and produced a corresponding effect. We should like, however, to hear him in a rôle of stronger caliber and one better suited for an artist of his reputation, in which he will have a more favorable opportunity. That excellent baritone, Signor Del Puente, made his rentrée as Germont, and acquitted himself as an accomplished artist.”

“The season of Italian opera was opened last night at the Academy of Music with ‘La Traviata,’ in which Mlle Marie Heilbron and Signor Benfratelli made their first appearance on the operatic stage in this country. Mlle. Heilbron possesses a soprano voice of very pure quality, which is uniform throughout its entire compass. Her tones are welcome and grateful to the ear, being so fresh, bright and mellifluous. Sometimes they are delicate and tender, having a gentle undulating character, which assists greatly in the betrayal [sic] of emotion.

But at the close of the scena e deuttino, in the second act, she delivered with great force and passion the final strain, rising with increased vehemence to the high A and subsequent B flat which forms the climax of the passage. Her vocalization is distinguished by great neatness and care that each note in rapid runs should be clearly heard and most correctly intoned. This was especially noticeable in the brilliant air, ‘Sempre libera,’ where, while singing Verdi’s own cadenza, she made a shake on the high B flat; and subsequently, in the staccato passages the notes were detached with wonderful skill.

Mlle. Heilbron does not indulge in excessive ornamentation, but sings with unaffected grace the melodies in their original, and, therefore, most satisfactory, form. Her Violetta was a refined performance. Signor Benfratelli has an agreeable voice, which, if not of great power, is able to endure throughout an entire opera without showing signs of fatigue or losing its refreshing quality. It appeared to the best advantage in ‘Amor è palpito’ in the first act, in the scena et aria at the commencement of the second act, and, also, in the celebrated duet, ‘Parigi, o cara,’ where his high A flat was thoroughly enjoyed.

Signor Del Puente was received with enthusiasm by the audience, who were well acquainted with his rich, sonorous tones, and dignified presence. His ‘Pura siccome un angelo’ and ‘Un di quando le veneri’ were most admirably sung, and the high F and G flat therein produced were most magnificent notes.

It must be remembered that the full concert pitch was employed, and none of the music was transposed.

The orchestra performed its duties well, the accompaniments being at all points most inspiring and supporting to the vocalists. The part for the tympani in the duet, ‘Dite alla giovine’ was played with considerable neatness, and the heavy brass instruments succeeded in producing the accompaniments to ‘Prendi,’ near the end of the opera, with extreme softness. However, much higher tasks have as yet to be imposed on this orchestra, and also on the vocalists, which will give greater scope to their varied powers, and make the record of their accomplishments in these columns an increased pleasure.”

“Mr. Strakosch began his opera season last evening with the ‘Traviata,’ in which two of his new company made their first appearance. These were Mlle. Marie Heilbron and Signor Benfratlli. They made an instant and favorable impression, especially so Mlle. Heilbron. They are both small in person and both of a strongly Hebrew type of face. Mlle. Heilbron is decidedly pretty and has a lithe and graceful figure. Her voice, though not especially strong, is of much beauty and purity, and her vocalization unusually accurate, smooth, and facile. She is also a graceful actress, and in the lighter rôles will unquestionably become a great favorite. Her whole style and manner and her artistic excellence are such as to attract and fix to a considerable degree popular admiration. The characteristic of her voice is its resonant, [violinise?] quality, especially in the upper register. She is simple and earnest in manner, and her singing is marked by intelligence and spirit.

What popularity Signor Benfratelli may obtain will be due to the graces of his voice, for those of his person will scarcely win him the regard that was bestowed on the fervent Capoul or the sturdy Campanini. He is a conventional and far from forcible actor, but will commend himself as an able singer, for he possesses a light voice of good compass and of delicate and sympathetic quality. While he will never bring down the house by any surprising tours de force, he will charm it by giving the more tender arias with pathos and sweetness.

In all the details of chorus and orchestra, costume and scene, the opera was presented very much as we have been accustomed to hear it on previous seasons.”

“The first performance of the season of Italian opera, under the management of Mr. Max Strakosch, took place at the Academy of Music last evening. In point of smoothness and symmetry the representation was a most satisfactory earnest [sic] of the fulfillment of Mr. Strakosch’s promises. This year he proposes to extend the répertoire much beyond its habitual limits, and in order that old works may be revived, with advantage, and new works be recited with becoming effectiveness, a particularly numerous and well-balanced company was requisite. Special attention has therefore been bestowed upon the ensemble, and to the results of this attention must notice be mainly directed. ‘La Traviata’ has rarely been interpreted with equal excellence apparent in all departments. We do not, however, think the selection was extremely judicious, for the opera is far from being the most impressive of Verdi’s achievements, and it is among the most familiar, in the bargain. The fact the Mlle. Heilbron made her début in London as Violetta, no doubt led to the choice. In this respect, at least, it is to be commended. Mlle. Heilbron approved herself a very fascinating representative of Violetta, and thus one of the strong points of the season was made. The newcomer is petite, pretty, and graceful; her voice is fresh and pure, with sufficient volume for the demi-caractère parts to be assigned to her; she uses it with a trifle less abandon, perhaps, than her maturer contemporaries, but skillfully and tastefully; and her talent as an actress is decided. All this can be said without flattery of Mlle. Heilbron, for it was plain that an occasional tendency to force her upper notes until they became somewhat harsh, and some restraint in her acting were attributable to the nervousness of a first night. Her vocal performance was of uniform precision. ‘Ah! fors ‘è lui’ was a capital bit of expression singing, and the brilliancy of ‘Sempre libera’—the florid passages being executed with great ease and correctness—quite carried away the audience. In the second act Mlle. Heilbron rendered Violetta’s touching phrases in the duet ‘Pura siccome un angelo’ with exceeding pathos; in the fourth act she sang her share of the duo ‘Parigi, o cara’ with infinite charm. In ‘Gran Dio’ Mlle Heilbron, whose dramatic impulses are genuine, was rather deficient in force. Throughout ‘La Traviata’ it only remains to add, the merit of her personation, from a dramatic stand-point, was clear, and the scene of her parting from Alfredo, in act the second, was very eloquent in its simplicity. Mlle. Heilbron was called before the curtain after each act, and the applause which encouraged her as the evening advanced, no less than the summons before the footlights, left no reason for discrediting her favorable reception. The new tenor, Signor Benfratelli, was also greeted with kindness. Signor Benfratelli is a young artist, who manages cleverly a fresh and sympathetic voice. Though we have had many more awkward actors on the stage of the Academy than this gentleman, we have also had several more impassioned and magnetic Alfredos. Yet Signor Benfratelli was never to be taxed with downright gaucherie, and, in the grand finale of the third act, although still more discreet in action than there was need to be, he endowed his words with considerable significance. Signor Benfratelli sang ‘Libiamo’ remarkably well; we were less pleased with his air, ‘De’ miei bollenti sospiri’ at the outset of the second act; in the final duet his singing was unexceptionable. Signor Del Puente reappeared as Germont, and, after acknowledging a most cordial welcome, lent the charm of his rich tones to the fine duet ‘Bella siccome un angelo,’ and to the well-known but, to this hour, well-liked aria, commencing ‘Di Provenza.’ This record of the principal incidents of the representation requires only to be supplemented by a mention that, as implied already, the subsidiary rôles, intrusted respectively to Signori Lotti, Scolara, and Hall, were adequately sustained, and that the chorus and orchestra were in as good form as if a season of three months were at its close instead of its opening. The audience was large, and its demonstrations of satisfaction were unmistakable.” 

“The choice of ‘La Traviata’ for the opening night of the season would not seem to be a specially happy one, but the manager is not always master of his own programmes. The prima donna is entitled to select the opera for her debut, and, if her preference is for one which has long lost a good share of its attractions, the public and the impresario must fain submit. ‘La Traviata’ is not so stale as to have become a nuisance; but the freshness has all worn off the poor tunes which we once thought so pretty, and the opera now has no charm of its own apart from the popularity of the principal singer. It served, however, last night to exhibit a very bright and prepossessing little lady to great advantage, and for ourselves we can say that we found the representation unusually interesting. The Violetta was Mlle. Heilbron, and the other characters were assumed by [see above]. Mlle. Heilbron has a voice of great beauty and a thoroughly good, unaffected style. She is not a phenomenal vocalist, nor a singer of extraordinary magnetism, but she is an artist of rich gifts and admirable culture who will probably be liked more and more the oftener she is heard. Her voice has quite enough volume for the largest opera-house and has a peculiar carrying quality which makes it especially effective in the ensembles. It is perfectly sweet, perfectly clear, perfectly even, and above all sympathetic, having much of the delicate vibratory character which imparts such warmth and pathos, and is more commonly found in the best mezzo-soprano voices than in those of a higher range. This valuable organ Mlle. Heilbron uses with most comfortable facility and invariable good taste, [illegible] no difficulties and attempting no misplaced displays. She did everything so well that it is not easy to select any one number for special commendation, but we may mention the ‘Parigi, o cara,’ as an example of refined and polished delivery none too common on the American stage. To her gifts as a singer Mlle. Heilbron adds personal graces of no inconsiderable value, and dramatic abilities much above the ordinary. Her Violetta is marked by none of the storm and stress of the Nilsson school; but it is truthful and well studied, and if it lacks a little force and passion in one or two critical scenes, the defect is not a great one. She won the favor of the house at the very beginning of the first Act, and her admirable death scene must have greatly increased it. If she has not aroused a furor of excitement, she has made a very pleasant impression. We presume she will be one of the favorite members of the company.

The tenor, Sig. Benfratelli, is a slender young man with a light yet rather powerful voice, thoroughly agreeable in quality, flexibly, and moderately sympathetic. Like the prima donna he sings with every appearance of ease, and his delicacy of the voice is excellent.  He made something like a hit in the brindisi, but in the more strenuous agony passages he fall a little short of the requirements of the situation. He is a welcome addition however to the troupe, and his value will be appreciated before the season is over. Sig. Del Puente had a very cordial reception, which he recognized by singing with unusual force. The rest of the cast was satisfactory.

There was little opportunity in ‘La Traviata’ for the display of those improvements in dress, decoration, &c, upon which the manager has laid emphasis in his prospectus. Scenery, costumes, and properties remained about as before. In other respects, however, there is even thus early a very decided change for the better. The chorus, about 50 strong, and the orchestra, also numbering 50, were much more carefully drilled than usual; and the whole performance was delightfully smooth and effective. For a first night this was a most important omen. Sig. Muzio of course was the conductor.”

“The opera at the Academy of Music has become a question of vital interest to the public of this city. Italian opera—once a subject of ridicule, or, at the utmost, of doubtful interest, to the people of New York—has gradually worked its way into their special favor. The metropolis abounds in place of amusement, among which may be reckoned the best dramatic house in the world. Old and new comedies are now presented in this city with a completeness of ensemble that is certainly commendable in every sense of the word. The opening of the Italian opera season on Monday night, comparatively uninteresting though it may be in an artistic point of view (for what interest can musicians nowadays have in an opera like ‘La Traviata?’), was attended by very many people who must be regarded as representing the principal connoisseurs in music in New York. There was one notable success—that of Mlle. Heilbron’s impersonation of the title rôle. Many attractive features are promised for the forthcoming season, and the managerial prospectus is full of novelty and interest. To-night a large number of artists make their bow in Verdi’s last and really most effective work, ‘Aida,’ in which the first great success of last season’s répertoire was made. Of course it would be premature, despite the flattering accounts conveyed hither from the European press, to speak of the caliber of the new Italian opera company, when only one principal artist has been heard here. However, the new operas are calculated to attract attention. Such works as ‘Ruy Blas,’ ‘Romeo and Juliet’ and ‘The Flying Dutchman’ express very vividly the modern phases of the Italian, French and German schools. Marchetti, Gounod and Wagner may be considered as the lyric caterers par excellence of this season. There is one circumstance to be taken into account in connection with Italian opera this season. The successful effort made last spring to present a great work in a style corresponding with the efforts of our comedy managers has led the public to expect great things in this line for the future. Mr. Strakosch has put his shoulder to the wheel and has placed himself in a position in which no backsliding is permissible. The magnificent ensembles of Covent Garden, Drury Lane and Paris have been favorably inaugurated, and now the public at the Academy will call for them again. Thorough efficiency in every detail of an operatic representation will be henceforward regarded as the test of management. Stellar attractions without the appropriate concomitants will fall without effect upon the public. The Academy of Music must be entirely reformed, as far as the stage is concerned, to bring success to the manager. The prospectus of the present season promises as much. Let us see how far such flattering hopes will be carried to fulfillment.” 

“An excellent performance of ‘La Traviata’ at the matinée at the Academy of Music, yesterday, rounded off the first week of Mr. Strakosch’s operatic season with suitable effect. Several of Mr. Strakosch’s artists—but not the bright particular star which is to shine, ere many nights go by, in the lyric firmament of this hemisphere—have now been introduced to Metropolitan audiences, and the acquaintance with the richly-gifted tenor, Signor Carpi; with the sympathetic and skilled light soprano, Mlle. Heilbron; and with Signor Benfratelli, bids fair to be as gratifying as that formed, in years gone by, with the performers who were then and are still a part of his company.”