Sunday Night Concert

Event Information

Venue(s):
Park Theatre

Manager / Director:
D. [manager] De Vivo

Conductor(s):
G. Carlberg

Performance Forces:
Vocal

Record Information

Status:
Published

Last Updated:
28 July 2025

Performance Date(s) and Time(s)

18 Oct 1874, Evening

Performers and/or Works Performed

1)
LIST OF PERFORMER(S)/ORGANIZATION(S)
Participants:  Teresa Carreño;  Theodore Habelmann;  Gaetano Braga;  Pietro Ferranti;  E. [pianist, conductor] Marzo;  Ilma di Murska;  Emile [violinist] Sauret
2)
Zampa, overture
aka Introduction
Composer(s): Hérold
3)
"Wanderer, Der," op. 13
Composer(s): Fesca
Participants:  Theodore Habelmann
4)
Sponde di savena
Composer(s): Braga
Participants:  Gaetano Braga
5)
Robert le diable, "Robert, toi que j'aime"
aka Robert! Robert! toi que j'aime ; Robert toi que j’aime; Robert, all I love!
Composer(s): Meyerbeer
Text Author: Scribe, Delavigne
Participants:  Ilma di Murska
6)
Linda di Chamounix, "O luce di quest'anima"
Composer(s): Donizetti
Participants:  Ilma di Murska
7)
Streghe
aka Witches’ dance; Hexentanz
Composer(s): Paganini
Participants:  Emile [violinist] Sauret
8)
"Napoli"
Composer(s): Campana
Participants:  Pietro Ferranti
9)
INTERMISSION
10)
Fra Diavolo, overture
Composer(s): Auber
11)
Sonnambula, La, aria
Composer(s): Bellini
Participants:  Ilma di Murska
12)
Concerto, piano, no. 2, op. 89, E-flat major
Composer(s): Benedict
Participants:  Teresa Carreño
13)
"Silent night, holy night"
aka Stille Nacht gwv145
Composer(s): Gruber
Participants:  Theodore Habelmann
14)
Violette des Alpes, La
Composer(s): Braga
Participants:  Gaetano Braga
15)
Barbiere di Siviglia, Il, duet
Composer(s): Rossini
Participants:  Pietro Ferranti;  Ilma di Murska

Citations

1)
Advertisement: New-York Times, 17 October 1874, 11.

Includes program.

2)
Advertisement: New York Herald, 18 October 1874, 11.

Includes program.

3)
Review: New York Herald, 19 October 1874, 7.

“Mlle. Ilma di Murska and her concert company drew a large crowd to the Park Theatre. The celebrated prima donna sang ‘Robert toi que J’aime,’ ‘O luce di quest ‘anima’and the aria finale from ‘La Sonnambula.’ On no former occasion do we recollect hearing from Mlle. Di Murska to greater advantage. Her wonderful voice, unrivalled in bravura singing, fairly reveled in the measures of Bellini and Meyerbeer, and encore after encore rewarded her efforts. Signor Braga, the renowned violoncellist, gave two of his compositions with that neatness and taste that belong to the finished artist, and Ferranti fairly eclipsed himself in the ‘Napoli’ of Campana, substituted for the cavatina from ‘Cenerentola’ and a merry little morceau by Giorza. The other artists were [list performers].”