Strakosch Italian Opera: Il Barbiere di Siviglia

“The revival of Rossini’s pretty little opera after a sleep of several years was a happy expedient. ‘The Barber of Seville’ retains a vitality which long ago faded out of such works as ‘The Daughter of the Regiment’ because the comedy is always amusing, and the vivacity of the music does not consist in lively [illegible] strictly formal and commonplace tunes, but in an ever-shifting and varying melody, as bright and changeable as the glitter of sunlight on dancing waters. It is not often our good fortune to witness so bright and generally satisfactory a performance of it as we had last night, and the occasion was made doubly interesting by the débuts of two members of the company, each of whom won a clear success. Mlle. Donadio was a pretty and coquettish Rosina, who showed the possession of a pleasant albeit not specially rich voice, admirably adapted both by natural quality and careful training for the light soprano rôles. She was painfully nervous in her aria d’entrata, the ‘Una voce poco fa,’ but a kind reception reassured her, and in the bolero from ‘The Sicilian Vespers,’ which she introduced for the music-lesson scene, she produced a decided impression. Her vocalism is beautiful, and in all the delicate arts of execution which the music of the opera requires she is perfectly at home. A still more emphatic success than hers was that of the new tenor, Sig. De Bassini. This young artist, a son of the celebrated baritone, comes fairly by his talent. The character of his voice resembles Capoul’s, but it is much sweeter, and it has none of those unmusical low notes which marred Capoul’s register. It is a voice of abundant strength and yet of great delicacy, combining in this respect qualities which we do not often find united. In cultivation he very far surpasses the French tenor with whom people will naturally compare him. The elaborate Rossinian roulades, whose proper delivery nowadays is almost a lost art, flow from his lips with charming ease and accuracy, and if he prove equally good in more serious work, as those who know him are confident he will, he must be reckoned one of the most valuable members of the company.

The Figaro of Sig. Del Puente was not just what we would have had it, but it was undeniably good. All the music was properly sung, and the action was lively and agile. But without an unctuous flow of humor the bustling Barber is apt to be a trifle wearisome, and it must be confessed that Sig. Del Puente is not really funny. The Bartolo of Sig. Scolara, however, and the Basilio of Sig. Fiorini were both amusing, and as they were well sustained by the capital acting of the tenor, the play was never allowed to flag, and the principal scenes were greeted with abundant laughter. Even Miss Cooney (Bertha) contributed to the success of the evening and fairly extorted a round of applause by a clever delivery of the arietta in the third Act, ‘Il vecchiotto cerca moglie.’ The conductor was Mr. Behrens.”  

“A pleasant performance of ‘Il Barbiere’ occurred at the Academy of Music last evening. It was welcome as an attractive entertainment, and also as offering proof that Mr. Strakosch’s company included artists who are equal to any work in the modern répertoire. Operas more difficult of execution than ‘Il Barbiere’ are certainly given nowadays, but few troupes, devoted to the propagation of Wagner’s and Verdi’s music, comprise singers fitted by culture to cope with the elegance and floridity of Rossini’s writings. This year, having performers equipped for the task, representations interesting not only by their intrinsic merit, but because they provide a contrast with those of fresher operas, can be arranged by Mr. Strakosch. Yesterday’s progressed smoothly to an effective culmination. The début of Signor De Bassini was wholly successful. This young tenor is gifted with a voice of reasonable strength and fair timbre, and, what is more to the point, he has it under as thorough control as a soprano. This fact established, and it being remarked that Signor De Bassini is young, prepossessing in appearance, and exceedingly self-confident, it will be inferred that he was an excellent representative of Almaviva. From ‘Ecco ridente il sol’ to the conclusion of ‘Il Barbiere,’ he was quite at home in his music, while his acting although not conspicuous for vivacity or picturesqueness, was sufficiently easy not to lessen the effect of his very fluent vocalization. Mlle. Donadio, who recently produced a favorable impression in the concert-room, was heard for the first time at the Academy, as Rosina. Mlle. Donadio has an agreeable and sympathetic voice, and her singing is facile and correct, if not extremely brilliant. The ‘Venzano Waltz,’ rendered during the music lesson, was redemanded, and, while the lady’s performance was not distinguished by excellences of a very high order, it was, at all events, satisfactory. An exceptionally lively and fascinating sketch of Figaro was supplied by Signor Del Puente; Signor Scolara made Doctor Bartolo a very funny personage and Signor Fiorini approved himself a capital Basilio. As to the concerted numbers, they went admirably, and ‘Zitti, zitti’ had to be sung twice. There is, however, no need to particularize; we do not think the recital of ‘Il Barbiere’ will be remembered, but we are sure it was vastly enjoyed by the audience.”

“The production of Rossini’s celebrated work, ‘Il Barbiere di Seviglia,’ and the first appearance in opera of Mlle. Bianca Donadio and Signor Debassini in this country, attracted a highly interested audience to the Academy of Music last night. The opera is one of Rossini’s best, and the concert-like songs therein contained provide ample opportunities for the full display of the executive abilities of all the principal singers. Mlle. Bianca Donadio’s voice is a high soprano, with light ringing quality, the piquancy of which greatly enhanced the effect of the difficult passages which occur in the part of Rosina. The extreme mobility of this kind of voice enables its possessor to articulate with ease many rapid runs, &c., which could only be produced after long and persevering study by those whose tones have greater volume. She sang the universally admired cavatina ‘Una voce poco fa’ one semitone higher than it is written, and at the conclusion made a brilliant shake on high C. In the duet ‘Ah tu solo, amor,’ and in the music lesson scene her voice and method were both heard to the greatest advantage. The audience was well pleased with her achievements, if we may judge by the loud and prolonged applause with which she was rewarded.

Signor Debassini appeared, for the first time in America, as Count Almaviva, and made a good impression. His voice is firm and strong, and his style vigorous. Although the cavatina ‘Ecco ridente in cielo’was transported to a lower key, Signor Debassini reaches high notes with ease, and their quality is extremely good. His appearance is prepossessing, and his acting indicates great intelligence. It was regretted that the aria ‘Cesse di piu resistere’ and the succeeding melody ‘Ah il piu lieto’ were omitted.

Signor Del Puente’s Figaro is inimitable. His solid, manly voice, irreproachable style of singing and acting satisfy the most fastidious opera-goers. The highly popular song ‘Largo al factotem’ was delivered with remarkable vivacity and dramatic talent, and created great enthusiasm.

Signor Fiorini and Signor Scolara acquitted themselves admirably as Doctor Bartolo and Basilio. Nor must we forget to make honorable mention of Miss Cooney, who achieved a success as Bertha, Signori Marini and Capra. The choruses and concerted pieces were delivered with great precision and point.”

“Rossini’s comic opera was given last night at the Academy of Music, with the following cast [lists cast]. The opera is not exactly one that can gain popular favor on the grand opera stage at the present day. It is a delightful little morceau for the stage of the comique, but we look for lyric food of a stronger nature nowadays at the Academy of Music. Works like ‘Il Barbiere,’ ‘La Figlia del Reggimento” and ‘Fra Diavolo’ will not satisfy the patrons of opera in this city. As well might Mlle. Aimée expect to attract houses to the home of Italian opera by ‘La Figlia di Signora Angot’ as a manager of Rossini’s little opera. We have had Aminas by the hundred, and Mlle. Donadio is the last applicant. She has a nice, pretty voice, fresh, but not effective; her method is good, but needs more extensive experience, and as a comedienne there is much yet to be learned by her. Mlle. Donadio in the lesson scene introduced the bolero from ‘Les Vêpres Siciliennes,’ and received an encore. The crystalline purity of her intonation is considerably marred by the defective manner in which she phrases and trills, and although there is very much to praise in her vocal qualities and the brio with which she invests them, yet a musician cannot very well commend her as an artiste in Italian opera in the Academy sense of the word.

The new tenor, Signor Debassini, who essayed the trying rôle of Almaviva—trying because Mario long ago monopolized it—made a genuine favorable impression. His voice is light in quality, but exceedingly well cultivated, responding to every phase of the composer’s ideas, and flexible and even in every demand made upon it. His acting is not particularly effective, and after such a courtly Almaviva as Mario, his interpretation of the rôle must appear anything but effective. Del Puente made a dashing, although rather vocally heavy, barber, and went through the part creditably. Over the others we draw the charitable veil of silence. ‘The Barber of Seville’ is a bad selection for grand opera this season, as it belongs nowadays to other boards than the Academy.”