Plot synopsis.

“Flotow’s ‘L’Ombra,’ which Max Maretzek produced last night at the Academy of Music, is by no means a ‘new opera,’ as the programmes averred, though it has never been publicly performed before in New-York. Its resemblance to ‘Martha’ is so strong as to be occasionally amusing. The same tripping and merry melodies, the same instrumental effects, the same use of the bell and triangle, and the same harmonic progressions confront us in every scene. Now and then a familiar strain recurs, note for note, as we have heard it for so many years at the Richmond Fair, and we find ourselves wondering a little when it takes a sudden turn and ends in a new way. Yet, mingled with many trivial things which he has copied from his own earlier pages, Flotow has written here much that is fresh and pleasing, and a large part of the opera is conceived in a more poetical spirit than he evinced in his better-known work. Nearly the whole of the second act, as well as a considerable portion of the third, is in a fine sentimental vein, and though the expression is often weak, it is refined and at times exceedingly beautiful. The aria for the tenor in the first Act, ‘[Lette le arcate?],’ seems to us overstrained, and the petition of Gina, ‘Per [pictaste lasciatom entrar?],’ to which the composer evidently attached a great deal of importance, is also somewhat labored. In the third Act, however, there are two romanzas, one for the baritone, the other for the tenor, excellent alike in conception and construction. The pleasant impression created by these and some other good numbers and pretty fragments is in a great measure effaced by interspersed [illegible] of dullness, and passages so rude and vulgar that we wonder how any musician of talent could have written them. The opera is written for four persons only—Vespina, soprano; Gina, mezzo-soprano; Fabrizio, tenor; and Doctor Mirouet, baritone. Their parts are about equally important. There is no chorus. The tenor and baritone last night were Messrs. Benfratelli and Tagliapietra, relics of the Strakosch wreck. The female characters were represented by two young American aspirants, and it needs no acuteness to discover that the whole opera season is arranged more for the satisfaction of debutantes and their fond friends than the entertainment of the public. Good may be done if deserving pupils are encouraged in their arduous career, but only mischief will be wrought if the beginner is taught to rate herself a great artist. Both the ladies who appeared last night give promise of accomplishing something, but neither is yet an artist at all. Miss Adelaide Randall, who played Gina, has a light, but very pleasant and expressive voice, already pretty well trained, and she exhibits an unmistakable talent for the stage. Vespina (Miss Matilda Hoffman) was not so good. She has a fine full voice, but her intonation is extremely defective.”

“Mr. Maretzek last evening commenced a brief series of representations of Italian opera at the Academy of Music. Flotow’s latest achievement, an opéra comique in three acts, was performed on this occasion. ‘L’Ombra’ is a very melodious and unpretentious work, of the merits of which it is not easy to form a perfectly adequate idea when in its Italian garb. The brisk dialogue of the original, which makes a rather intricate story quite clear, is replaced in the new version by passages of recitative which are heavier, as well as far less intelligible; and, to sum up the case, the frame in which the grand works of the répertoire are habitually set is rather too massive for the sketchier and daintier picture. Under these circumstances it may be doubted whether the opera in its Italian form will long keep the stage, It is, however, full of pretty and effective music, and the incidents its libretto narrates are interesting and dramatic. In brief, ‘L’Ombra’ embodies a story…[brief plot synopsis]. Flotow’s score illustrative of these events, is not remarkable for originality or for great felicity of inspiration, but it is replete with graceful and flowing themes, and some of the concerted numbers are delightfully piquant in treatment if their motives are not particularly taking. In respect of solos, the tenor has a tuneful romance (‘Non v’ba dolor’) in the first act, and another in the second, while to the baritone are given an easily-remembered song in act the first (‘Quando sone [illegible]’) [illegible] a charming romance (‘Il di son l’ore’) in the third; the contralto is allotted a short but touching and pleasing aria d’entrata –‘Per pietade’ at the outset of the opera, and the soprano has a heavy task throughout the three acts. A deliciously animated quartet, ‘Un, due, tre,’ in the first act, another quartet in the second, and the subsequent duet for contralto and tenor are to be mentioned as the choicest morceaux d’ensemble. But ‘L’Ombra’ cannot be dismissed after a single hearing. Its recital yesterday was exceedingly creditable. Although Miss Hoffmann, who personated Vespina, has a rich and powerful voice, it is not that of a light soprano, and, clever as her performance undoubtedly was, we are inclined to think that she would have produced a far deeper impression as an aspirant to the honors of a prima donna drammatica. Yet Miss Hofman effected a very successful début—she is youthful and comely, and she afforded evidence that under proper direction, a bright future is before her—and we ought not to ask for more. Miss Addie Randall, who has a mezzo soprano of excellent quality, acquitted herself acceptably of the duties of Gina, and the rôles of Fabrizio—under which name Dr. Rollcourt conceals himself—and Dr. Mirouet were respectively and acceptably filled by Signori Benfratelli and Tagliapietra. The last named gentleman won an enthusiastic encore by his interpretation of the romance in the second act, and it is only fair to say that if there was much applause during the evening it was merited by a representation which was as notable for the conscientiousness of all concerned as for the exceptional fact that it brought before the public some young performers of decided promise. Mr. Maretzek directed the recital, and one of the instrumental features was a harp solo by Mme. Maretzek.”

“Mr. Maretzek’s Italian opera season began at the Academy of Music last evening in a brilliant manner. The house was well filled, and the first public performance in America of Flotow’s ‘L’Ombra’ passed off very pleasantly. Miss Addie Randall as Gina and Signor Tagliapietra as Mirout were particularly successful as actors and as singers. Signor Benfratelli and Miss Hoffman were well received. We shall, at another time, treat the work and its performance by these ladies and gentlemen at greater length.”

“There were two sources of attraction at the Academy last night—a new opera and American singers. Mr. Maretzek made the experiment of introducing to the public two young ladies (amateurs) as exponents of the lyric art and as a test of the capabilities of American singers to cope with the difficulties of Italian opera. The opera was by Flotow, the composer of ‘Martha,’ and two of the artists of the defunct Strakosch troupe took part in it. There has been quite an excitement for some time in musical circles to know what kind of an opera the composer of such a popular work as ‘Martha’ would produce in his more mature days. ‘L’Ombra’ (The Shadow) was presented last night for the first time, and although it possesses much of the peculiar, popular spirit of ‘Martha,’ yet it lacks originality and inspiration to such a degree that it cannot be termed a valuable addition to the répertoire of Italian opera. The libretto is based on a story of striking dramatic interest, almost tragic in its details, and the music is intrusted to the care of four singers (no chorus), soprano, alto, tenor and bass. The cast last evening was as follows [see above]. The opera was produced in French for the first time at the Opera Comique, Paris, in July 7, 1870, and has since been played in every part of Europe. The music is slight and sparkling, and in some scenes more of the bouffe than the comique order. ‘Martha’ and ‘Stradella’ pervade it from beginning to end, and occasionally there are reminiscences of Verdi’s ‘Rigoletto’ and of Donizetti also. The two young ladies who made their début, under the direction of their teacher, succeeded in producing a marked impression on those present. Miss Hoffman has a fine, resonant soprano voice, something of the Lucca order, which artist she resembles very much in appearance, and Miss Randall is the fortunate possessor of a well cultivated contralto voice, which she uses with rare judgment and skill. Both ladies displayed talents that are likely to advance them to positions of eminence in the lyric profession. During the second act Mme. Maretzek played a harp solo from Flotow’s ‘L’Ame en Peine,’ with such artistic effect that an encore was at once demanded. The result of Mr. Maretzek’s experiment is successful and Miss Hoffman and Miss Randall may be considered as the latest and best exponents of lyric art that this country has recently produced.”

“Flotow’s opera ‘L’Ombra’ was given in Italian at the Academy of Music under the direction of Mr. Max Maretzek on last Friday evening and on Saturday afternoon, and it will be repeated tomorrow evening. Miss Adelaide Randall appeared as Gina, Miss Matilda Hoffman as Vespina, Signor Benfratelli as Fabrizio, and Signor Tabliapietra as Mirouet.

The overture begins with an introductory solo for the horn, the fascinating tone of which is specially grateful to the ear. The allegro movement that follows has two well-defined subjects, the second of which bears some slight resemblance, as regards general expression, to the melody, ‘Flow’ret, I love thee!’ in Balfe’s ‘Talisman.’ Subsequently the tambourine is employed freely to make some particular effect. It falls to the lot of Signor Tagliapietra to sing the first interesting melodic theme, that begins with the words, ‘Ebben, sia pur.’ On Saturday afternoon at the matinee this air was delivered very satisfactorily, and towards its close a high note of remarkably good quality and considerable power was produced. And again in the aria ‘Nella vita,’ high G natural was sustained with great energy, and was so loudly applauded that Signor Tagliapietra repeated the second verse, and at its close intoned a still more brilliant note.

Miss Adelaide Randall sang ‘Perpietade’ of the first act very charmingly, although a tendency to gradually raise the pitch of the prolonged high notes was perceptible. But in the duet ‘O dolce pensiero,’ and particularly in the song, ‘Tutto ò calmo’ her voice and style of singing were displayed to greater advantage.

Miss Hoffman sang and acted fairly well; but proved unequal to sing the florid passages with correctness of intonation, especially in the song that begins the second act.

Signor Benfratelli as Fabrizio failed to create much enthusiasm, although he had a large share of the principal melodies.

The orchestra, under the direction of Mr. Maretzek, performed the accompaniments with very great care, and the singers being well acquainted with the music the performance throughout was smooth and enjoyable.

Occasionally the glockenspiel and thunder appeared to be a trifle too loud and intrusive; and the solo for harp which is played during a pause in the action seems a strange interpolation. But this was greatly admired by the audience, and encored. The text and the music are hardly worth serious consideration. It is possible that some of the melodies may become popular and lead to frequent repetitions of the work, but it is too weak a production to influence the course of modern opera.”

“Max Maretzek’s experiment in the operatic field with native artists and a reasonable tariff for admission has proved a successful venture, his production of Flotow’s opera of ‘L’Ombra,’ new to the American public, with the Misses Randall and Hofman in the principal roles, having met with a favorable reception on its first representations on Friday evening, and Saturday matinee, furnishing conclusive proof that we have available talent at home for creditably producing the higher productions of the lyric drama.”

“Max Maretzek began a brief season of Italian Opera on Friday last with Flotow’s ‘L’Ombra.’ This opera which is written for four voices only, without chorus, is said to bear a striking resemblance to ‘Martha.’ The affair seems to be arranged for the purpose of enabling two young debutants to sing in public on the stage, and it is probably highly gratifying to all concerned.”