Strakosch Italian Opera: Aida

“The second night of the opera season was more successful than the first. The audience ws better, and in at least one scene there were manifestations of popular enthusiasm which we missed on Monday. ‘Aida’ was one of the best successes of last season, and it was not difficult with the company now at Mr. Strakosch’s command to repeat it under favorable conditions. Miss Cary had already made her mark in the character of Amneris. Sig. del Puente had approved himself as a competent successor to Maurel as Amonasro. The splendid scenery remained, of course, as before, and the spectacular effects, the processions, the dances, the display of rich costumes, were reproduced without much trouble. The roles of Aida, Radames, and Ramfis introduced three new members of the troupe, and they were certainly not unworthy of the associates among whom they found themselves. Signora Potentini, like all the other ladies of the company, is young and—so far as one can tell through the dusky disguise of Aida—well favored. Her voice is best in the upper register, not remarkable for richness or generous color, not specially flexible, not a voice to set the town raving, but one that will adapt itself readily to a great variety of parts, and we presume that the manager will find her a very useful artist. Her schooling has been after the conventional dramatic method of the Italians, and she shows to most advantage in passionate passages, singing with a great deal of expression, and throwing herself perfectly into the spirit of the scene. During the first two Acts of the opera the impression she made was pleasant but rather indistinct. It was in the very trying duets of the third Act with Amonasro and Radames—the severe numbers in Torriani’s powers always used to fail her—that she first put forth her strength and roused the plaudits of the house. The new tenor, Sig. Carpi, shared with her the honors of this Act,--and perhaps took rather more than a mere half of them. He too is young, vivacious, and enthusiastic,--a true robust tenor, with a smooth, clear, slightly metallic voice, well delivered and well trained. His solo in the first scene, ‘Celeste Aida,’ was given in a tender and unaffected manner which stamped him as an artist; but his triumph was reserved for the third Act, where the strength, purity, and fire of his sustained high notes won the heartiest recognition from a public which loves nothing better then a strenuous tenor. He has the elements of popularity, and he seems, so far as one can measure him by the unsatisfactory part of Radames, to have many of the qualities of a fine artist also. The basso, Signor Fiorini, made no very brilliant figure as Ramfis, his voice being tremulous and only moderately strong. The chorus was better than last year—though not larger—and the orchestra was also better, though not so large.”

“The remarkably smooth and complete representation of ‘La Traviata,’ with which the season of opera was inaugurated Monday, was followed by an equally symmetrical and far more impressive rendering of ‘Aïda’ last evening. This work, made known to American audiences last Spring, has now become a familiar element of the répertoire, and as such can be dismissed without a lengthened notice. Though it is a familiar score, it is not likely ever to enjoy the great popularity of Signor Verdi’s previous achievements. The composer of ‘Il Trovatore’ has bestowed both time and thought upon the task undertaken at the request of the Khédive, but if science and patience could accomplish everything in music, half a dozen graduates of the Paris Conservatory would win fame and fortune every year. There is more labor in ‘Aïda’ than perhaps in any of Signor Verdi’s efforts, but there is less inspiration. It is a more elaborate and more finished achievement, but, except in the third act, when the spontaneity and passion permeating the performances of earlier days are now and then apparent, it has little to remind one of the Verdi of old. ‘Aïda,’ however, has merits of its own. The instrumentation denotes that the writer has kept pace with the requirements of the age, the well-worn précédes adhered to in by-gone years, and often transforming opera into a mere succession of ballads, bound together by thinly- accompanied recitatives, have been set at defiance, and a shapely and dramatic composition has been brought forth. But we need not continue in this strain, recollecting that a dozen recitals of ‘Aïda’ must have acquainted the habitual visitor of the Academy with its characteristics, while they afforded us opportunities—of which due advantage was taken—to enter into details concerning the libretto and the music. Last night’s rehearsal did justice to the demands of both. Three artists, new to us till then—Signor Carpi, Signor Fiorini, and Signora Potentini—then made their début. Signor Carpi, who was received with favor from the moment he sang the romance in the first act, excited in act the third and again at the close of the evening real enthusiasm. Signor Carpi is a genuine tenore di forza, and the quality of his voice is, moreover, so pleasant that he will be nearly as acceptable in sentimental rôles. The medium is pure, the upper tones of exceeding power and firmness; the artist phrases well, articulates distinctly, and acts with intelligence and vigor. It was promptly felt that in a performer possessed of so many excellences an accession of no ordinary worth had been secured to Mr. Strakosch’s company, and, in the third act, when the first, and almost the last, chance of distinction is accorded to the representative of Radames, Signor Carpi produced a decided impression. The fine duet commencing ‘Pur ti riveggo’ went admirably, and while the significance of no single note was diminished by the singer’s impatience to reach the telling passages, these were given with so much fire and power—the As and B flats being taken with ease and accuracy, and sustained as long as taste would allow—as to cause frequent interruptions of the entertainment. Signor Carpi afterward infused considerable tenderness into the duo with which the opera ends, but the principal effect was wrought during the previous scene, and, with Mme. Potentini, Miss Cary, and Signor Del Puente, he had to come thrice before the curtain when it had fallen on the surrender of the soldier to the priest. Mme. Potentini—Mr. Strakosch’s new prima donna drammatica—is gifted with a voice corresponding with the artist’s title, that is to say, of unusual power. Yet we should not like to declare that power is its only claim to consideration. For Mme. Potentini was very nervous yesterday, and her singing suffered on that account. It was, notwithstanding, plain that the new-comer directs her voice with skill, that she is always in tune, and that she, as well as Signor Carpi, is quite alive to the vocal possibilities of a forcible incident. Signor Fiorini, the third débutant, is an artist whose proficiency the character of Ramfis hardly tests.  What little the high priest has to do, Signor Fiorini did well; his tones are not of remarkable freshness. With these performers, Miss Cary—Amneris—and Signor Del Puente—Amonasro—came to the front. Miss Cary was in splendid condition, and her tones sounded if anything, richer than ever before. Signor Del Puente executes the music allotted to Amonasro faithfully and with proper expression, though the time of one or two of his passages in the duet in the third act might with advantage be somewhat more rubato. Signor Scolara, as heretofore, was the King. It is only necessary to supplement this review of the transactions of the night by a word of compliment for the chorus and orchestra, some choral misdeeds in the subterranean chaunt [sic] in the fourth act being the only proceedings by either body justifying even mild censure. The mise en scène ‘Aïda’ was, as usual, of rare historical accuracy and splendor, and the pageant of the second act—when everybody was summoned to the footlights—remains unsurpassable in legitimate pomp and circumstance.”

“Verdi’s ‘Aida’ was given last evening at the opera with the same wealth of scenery and appointment that made it so marked an attraction last season. The distinction of the parts was, however, essentially different. In place of Madame Torriani we now have Madame Vittoria Potentini; Signor Carpi assumes the role filled formerly by Campanini, and Manetti is replaced by Signor Fiorini. On the whole the performance by the new company compares very favorably with that of last winter.

The change cannot be said to have strengthened it, but the opera nevertheless still receives a remarkably interesting presentation.

Madame Potentini, the prima donna, has not a very pleasant quality of voice. It is reedy at times, and lacks purity and softness, but it is strong and particularly effective by reason of its penetrating qualityin the dramatic concerted music with which the opera abounds. In her solos she appeared to the least advantage, and in the ensembles she was always at her best. As an actress she has fire, force, and color.

Signor Carpi, the tenor, made for himself a highly favorable impression. So far as could be seen through his dusky Egyptian disguise he is a handsome man, and he has a fresh and sonorous voice, exceedingly pleasant to listen to, and coming out finely in the heroic parts of the opera. He will do much to console the public for the loss of Campanini, if, indeed, he does not do so entirely.

Signor Fiorini does not add much to the strength of the cast. The day of good basses seems to have gone by. Mr. Strakosch’s companies have been rich in baritones, but of deep basses we have had scarcely one since Formes’s better days.

Of course Miss Cary was welcomed with enthusiasm. Whatever part she assumes she lends vigor to. There is a firmness, breadth of style, and certainty about her singing that is in the highest degree artistic and satisfying.

Signors Del Puente and Scolara were also in the cast. They are worthy artists, and greatly added to the excellence of the performance.”

“The Academy of Music was crowded last night with a brilliant audience, anxious to hear for the first time in the opera of ‘Aïda’ the artists from whom so much gratification is anticipated during the present season. They were not disappointed. The opera was presented with admirable skill, and nothwithstanding its difficulty and the fact that it was a first performance, no untoward event marred its complete enjoyment.

There was, however, at first some slight tinge of fear perceptible that Mlle. Vittoria Potentini would not succeed. Her opening phrases, for which all waited almost breathlessly, did not realize the expectations raised; nor did the succeeding trio hold out promises of a great treat to come, for the soprano vocal part was chiefly followed by the assistance of the oboe in the orchestra. Subsequently, also, the tones expecially of the high notes, were thin, and, instead of being directly attacked, were approached by gliding upward from a lower note. Two high C’s were also inaudible. But these points were considered trifling and soon forgotten for Mlle. Potentini immediately afterwards triumphed over the peculiar nervous susceptibility which most highly-trained, sensitive artists feel on a first appearance, and sang to the end of the opera with ever-increasing confidence, winning all hearts.

In the grand scena beginning ‘Ritorna Vincitor!’ the exact intonation of most difficult intervals, and the tender, delicate, affecting quality of her voice, especially in the lower notes, was at once perceived; and in the cantabile ‘Numi pietà,’ when the tone, trembling with deepest emotion, rose in the stringendo passage from A flat to its octave, and then gradually sank to low D flat before rising to the cadence, the unrestrained plaudits of the whole house broke in upon the concluding phrase, ‘pietà.’

Space will not permit us now to enlarge upon Mlle. Potentini’s subsequent triumphs, which were complete and created great enthusiasm.

Signor Carlo Carpi has a magnificent voice, which he uses with great freedom, and displays in the most liberal manner—rising with renewed pleasure to repeat with still greater emphasis some clarion-toned A or brilliant B flat. His lofty and splendid style of delivery, and rich, strong, lustrous voice will compel admiration and place him among the most distinguished tenors who have visited this country.

Miss Annie Louise Cary sang as well as ever. Her large, full, broad, open notes are dangerous rivals to those of ordinary soprani, especially when she rises to high G sharp and A, exhibiting such an extraordinary wealth of tone as was heard last night.

Signor Del Puente and all the other members of this cast deserve great commendation.

The choruses were well sung, particularly the first of the second act, in which the voices of the soprani and contralti showed their superiority to those employed last season. The diminished third in the music sung in the Temple of Vulcan was, however, a little too large, and thus the chorus became slightly flattened, and did not perceive the fact, being accompanied solely by the harp in the orchestra, which they could not hear. The men singers distinguished themselves particularly well in the last act, proceeding for considerable periods in difficult passages entirely unaccompanied without losing the pitch. The orchestral accompaniments were beyond all praise. The audience congratulated themselves and Mr. Strakosch on the success of the representation, which created great expectations for the future.” 

“It is always pleasant to chronicle a success on the stage, and when it comes in an operatic form the pleasure is still the greater. Such was the result of the performance at the Academy of Music last night. A soprano and tenor made their first appearance in Verdi’s last, and perhaps his best, work, ‘Aïda,’ and at once gained genuine, unalloyed success. They were Signora Potentini and Signor Carpi. ‘Aïda’ will eventually become the most popular work in the répertoire of Mr. Strakosch, as it is the matured thought of the greatest of modern Italian composers. The story is attractive, despite its antiquity. It may be hard to imagine love, jealousy and kingcraft in connection with the swathed mummies of the pyramids, but when the simple, expressive plot of Signor Ghislanzoni is well considered the difficulty vanishes. In this opera, written at the command of the Khedive, and produced for the first time in Cairo, Egypt, with such artists as Pozzoni, Grossi, Mongini and Medini, Verdi departs in a great measure from his recognized style. His instrumentation is particularly novel. The coloring of the melodic themes is fantastic and Oriental in its positiveness, but always effective. Considering that ‘Aïda’ was presented last season more frequently than any other opera in the répertoire, its popularity in America may be looked upon as a fixed fact.

It served last season as a medium for the triumph of Mlle. Torriani and Signor Campanini. It introduced last evening Signora Potentini, and Signor Carpi, with far more favorable results than their predecessors in the two principal rôles enjoyed. A dramatic prima donna, now that Grisi is dead and La Grange and Gazzaniga have retired from the stage, is a rara avis in the world of art. Signora Potentini amply fills the void. Her voice is of the true dramatic order, full, sonorous, readily responding to every phase of passion and cultivated to an extent approaching perfection. This was observable even in the first act, when she sung the wail of the captive princess who struggles between her love of father and country and of the gallant young chieftain who goes to destroy both. In the third act, musically speaking the best in the opera, Signora Potentini sung the magnificent music allotted to Aïda in this scene with an effect rarely equaled on our boards. The duet with her father, the captive king, in which she passionately implores him to spare her from the humiliation and anguish of making her lover a victim to the designs against his duty toward his country and the succeeding interview with Radamès were delivered with such passion and fire that the entire house broke out into a spontaneous outburst of applause. The grand duet in the last act, the adieu to earth, was another triumph for the prima donna. Fully equal to the greatness of Signora Potentini’s impersonation of the title rôle was the Radamès of Signor Carpi. A tenore robusto is nowadays as scarce an article as a prima donna dramatica. When Signor Carpi sung the first aria, ‘Celeste Aïda,’ he was at once recognized as the desired tenor. In the third act, in the duet with Aïda, and in the last scene his success was assured. Since the departure of Salvi we have had no tenor on the operatic stage in New York that can compare in voice with Carpi. He did not make the same imposing appearance in the rôle of the Egyptian Captain that made the success of Campanini; but he sung much better than his predecessor in the rôle. At the end of the third act he was called before the curtain, with Signora Potentini, five times—a tribute from the public which has only been paid to Nilsson and Campanini, in the fourth act of ‘Gli Ugonotti.’ Miss Cary appeared in the character of Amneris, which she has made her own, and we know of no occasion on which she made as decided a success. Her beautiful contralto voice is now in its prime and the thorough artistic spirit which is manifested in her operatic impersonations shines with full lustre in her Amneris. Signor Del Puente reappeared as Amonasro, and made a hit as great as that achieved by Maurel at the first performance of the opera. Signor Fiorini made his début in the rôle of the high priest Ramfis, and showed evidence of a good voice, marred only by a disagreeable tremolo. A tremolant tone is never desirable in any singer; but in bass notes it destroys much of the effect that a naturally good organ might produce. Signor Scolara, a conscientious artist, made the rôle of the King of Egypt a feature of the opera. The chorus and orchestra, under the experienced direction of Signor Muzio, were worthy of Covent Garden. This opera cannot fail, with such superb presentation, to be the principal feature of the present season.”