Strakosch Italian Opera: Emanuele Muzio Benefit

“The able and conscientious conductor of Mr. Strakosch’s company has deserved so well of the public during the season now closing that the brilliant success of his complimentary benefit last night should be a subject of general congration. Nilsson, Lucca, Cary, Campanini, and in fact nearly all the artists of the company participated in the performance, and one of the pleasant peculiarities of the entertainment was the hearty agreement among the singers in loading the conductor’s desk with crowns and flowers. The programme was made up of choice fragments, some of them familiar, others comparatively new. Only three seem to require special remark. The second Act of ‘William Tell’ was chiefly remarkable for the trio, in which Campanini, Del Puente, and Nannetti all sang admirably, and the tenor added another to his list of particular successes. In the last Act of ‘L’Africaine’ Mme. Lucca had an opportunity to assume the character which appears to be her favorite, since she chose it for her first appearance in America. The selection consisted merely of the dramatic scena beneath the mancanilla tree, and we need hardly say that she made it highly effective. Between ‘William Tell’ and the ‘African’ came a composition of Verdi’s, never heard before in this country. It was the ‘Hymn of Nations,’ which he wrote for the opening of the London World’s Fair of 1862. It was not accepted by the commissioners, but it was afterwards performed at one of the London opera houses. Consisting of a chorus, with a declamatory soprano solo (sung last night by Mme. Nilsson), making a liberal use in the chorus of Garibaldi’s Hymn and interweaving ‘God save the Queen’ and the ‘Marseillaise,’ it is an illustration of the familiar truth that inspiration does not always come at the call of authority.”

“The promise of Signor Muzio’s benefit last night was fulfilled ad pedem litterae, yesterday. The audience that filled the Academy was the largest gathered this season, and the programme was one which in point of variety and comprehensiveness, has never been equaled. Its familiar elements were its best. We have never heard the splendid third act of ‘Lohengrin’ given with more finish and effect, Signor Campanini, who last evening took his leave of American audiences, personating Lohengrin with the rare combination of dignity and tenderness already credited to his performance, and singing through the duet and the Grail music with unfailing sweetness and delicacy, and Mme. Nilsson presenting her chaste picture of Elsa with her wonted attention to detail. The second act of ‘Fra Diavolo’ was almost as cleverly rendered, Mme. Lucca’s scene en dishabillé passing off as merrily as usual, and M. Capoul, Signor Scolara, and Miss Cary, not forgetting Signor Boy, co-operating briskly with the German prima donna. The fifth act of ‘L’Africaine’ had previously introduced Mme. Lucca as Selika, a character which the lady’s strong dramatic impulses fit her to portray with great eloquence. In the way of novelty, the spectators had the second act of ‘William Tell,’ Verdi’s ‘Hymn of Nations,’ and ‘The Star Spangled Banner.’ The grand trio for tenor, baritone, and basso was sung with considerable vigor by Signori Campanini, Del Puente, and Nannetti, though it was clear that if Signor Campanini had had the work to himself, something still more satisfactory would have been listened to. The chorus was by no means proficient in the after-passages of the act, and without a first-rate chorus, ‘Guglielmo Tell’ on the stage is of slight account. Nor were we profoundly impressed by Verdi’s ‘Hymn of Nations,’ which is but a potpourri of European national airs, as devoid of value as most compositions written, one might say, by commission. Mme. Nilsson sang this number, a chorus assisting, but the applause was intended, we opine, rather for the artist’s good will than for the music assigned her. Miss Cary, who sang ‘The Star Spangled Banner,’ was the object of a genuine oration, and had to repeat the two verses she recited and to come before the curtain again and again. Recalls were, of course, features of the representation, and Signor Muzio, who has striven hard and successfully this season to secure symmetrical and attractive entertainments, was also honored by a summons to the footlights, and complimented by liberal gifts of flowers and wreaths.”

“Muzio’s benefit was quite as brilliant a success as Campanini’s. At an early hour the announcement of ‘standing room only’ met the gaze of the incoming crowd. The performance began shortly after half-past seven with an act of the immortal ‘William Tell’—the act in which only male voices are employed. Rossini’s superb music received good treatment at the hands of the principal singers, Campanini especially distinguishing himself in the trio; but the chorus were at times astray in what seemed to them unfamiliar strains.

Verdi’s ‘National Hymn,’ a composition never before heard in this country, was the second feature of the programme. It is a species of cantata for solo soprano and chorus, the words by Arrigo Boito. The work was composed by Verdi for the opening of the London Exposition in 1862. A chorus invoking mutual love and peace for all men opens the cantata. It is not significant in melody, being rather a study in counterpoint. It leads to a solo, ‘spettacolo sublime’—an elaborate recitative (fairly rendered last night by Madame Nilsson), ending in an exquisite air in the more subdued style of Verdi—

Signor, che sulla terra

Rugiade sparge e fiori

E nembi di fulgeri

E balsami d’amor--

which is repeated by the chorus, and the British national hymn ‘God save the Queen’ is then given by the string orchestra and subsequently by the chorus. During the playing of the ‘Marseillaise’ by brass instruments, the solo soprano sings a recitative. A touch of the Italian hymn is given, but it is scarcely recognizable. Indeed, such prominence is awarded the English hymn that the others are dwarfed by comparison. Altogether, Verdi’s national melody is an interesting rather than a great work. In orchestration its treatment of the leading theme does not approach the treatment of the same by certain German orchestral writers. The applause which followed it was a tribute to Nilsson the singer rather than to Verdi the composer. ‘The Star Spangled Banner’sung by Miss Cary and chorus followed this new work and was received with such enthusiasm that the favorite contralto had to repeat the last verse; and, indeed, the singing by an American girl of the American national anthem in a natural and appropriate style, amid all the exotic splendors of the Italian stage, was one of the most agreeable and satisfactory features of the evening.

Lucca then appeared as Selika and in her splendidly dramatic style sang the death song of the unhappy savage-queen. The unison prelude for orchestra passed almost unnoticed, and indeed was not played so well as when the opera was produced here in the days of Carozzi-Zucchi. The third act of ‘Lohengrin’ was the swan’s song of Campanini—his farewell to New York. His voice seemed to be somewhat fatigued, but its delicacy, if not its resonance, was unimpaired. With him departs for the present at least all hope for the Wagnerites, no other Lohengrin remaining in the country.  

An act of ‘Fra Diavolo,’ with Lucca and Capoul, closed the long and pleasing entertainment, which certainly gave the public an opportunity, cordially embraced, of expressing their appreciation of Muzio, to whose efforts we are chiefly indebted for ‘Aida’ and ‘Lohengrin.’ The popular conductor was loudly called for, and was led on the stage by Nilsson and Campanini. His music desk was heaped up high with wreaths and bouquets, and he certainly had every reason to be gratified with the compliments showered upon him.

A reasonable ground of complaint was the scarcity of ushers, which was made the more manifest by the scarcity of vacant sitting or standing room.”

“The Academy of Music could hardly accommodate more people than the audience that attended last night the benefit of one of the most valuable and painstaking members of the Strakosch troupe, one on whose shoulders has rested a very large proportion of the responsibility of the season, and one to whom its success is mainly due. We refer to the eminent chef d’orchestre, Muzio. Every seat was sold before Monday noon, and, notwithstanding the inclement weather, hundreds were unable to obtain even tolerable standing room, except in the lobbies. The attractions, independent of the natural desire of the habitués of the opera to do honor to one of its most distinguished representatives, were ample enough to fill any house, despite rain, hail or snow. There was [see above for program]. The solo artists taking part on this occasion were [see above].

The event began with the peerless overture of ‘William Tell,’ played by Muzio’s band, with the general finish and expression in the part of the strings and reeds that might be looked for only at Steinway Hall or Central Park Garden when Thomas takes the baton. The same might be said of the introduction to the last act of ‘Lohengrin.’ The brass department is the only one in this orchestra that one can be disposed to cavil at, and that will undoubtedly undergo a reform next season. The selection from Rossini’s master work commenced with the grand terzetto, ‘Allor che scorre de’ forti il sangue,’ the characters being distributed as follows:--Arnold, Campanini; William Tell, Del Puente, and Walter, Nannetti. The passionate, horror-stricken utterances of Arnold, commencing with ‘Troncar suol di quell’ empio ardiva,’ were delivered by Campanini with the dramatic fire and vocal effect they demanded. The grandeur of the music, choral and orchestral (worth more than all that ever the the Zukunft school has produced), lost nothing in the scene of the gathering of the Cantons, and the curtain fell on the first part of the programme amid a torrent of applause. Next came the ‘Hymn of Nations,’ composed by Verdi for the World’s Fair at London, in which Mme. Nilsson sang the solo part, assisted by the entire chorus. The work embraces in a very ingenious and very artistic manner the national anthems of England, France and Italy, and towards the close of the two first subjects are magnificently worked up, ‘God Save the Queen’ and the orchestra playing the ‘Marseillaise.’ The full, sonorous voice of Mme. Nilsson and her exquisite art and finished style appeared to advantage in this cantata. Then Miss Cary came forward and sang the ‘Star Spangled Banner’ in such a manner that a unanimous recall instantly followed. The last act of ‘Lohengrin’ brought out Nilsson and Campanini to the best advantage, and in the grand duo in the bridal chamber they seemed to be unusually inspired for the occasion. Mme. Lucca appeared in the two best scenes of her extensive répertoire, the dying scene of Selica in ‘L’Africaine,’ and the toilet scene of Zerlina in ‘Fra Diavolo.’ In both scenes the wonderful voice of the Austrian prima donna, wonderful on account of its breadth of tone, thrilling expression and vocal dramatic effect, called forth the most enthusiastic applause.

The receipts on the occasion at the box office exceeded $6,000. It was a just tribute to an accomplished musician and an indefatigable director.”