Maretzek Italian Opera: Ernani

“A representation of ‘Ernani,’ given at the Academy of Music yesterday evening, enabled Miss Mohalbi to make her first appearance before a New-York audience. It is quite likely to be her last, for her performance was devoid of charm, interest, or promise. Miss Mohalbi has scarcely voice enough to be heard in a small concert room; she has very little skill as a vocalist; she is so awkward as to be more comical than impressive when compelled to address herself to motion; and, as she is apparently advanced in years, we are even denied the privilege of looking to the future for the pleasure not accorded at present. Signor Tagliapietra’s portrayal of Carlo Quinto was the redeeming trait of the entertainment; the baritone’s splendid voice, although it is not used in a manner denoting great intelligence or study, always works wonders, and ‘O sommo Carlo’ was rapturously redemanded, although connoisseurs no doubt noticed that the singer’s fine air, ‘O de’ verd’anni,’ just preceding it, had been unjustifiably omitted. Signor Reyna sang the music allotted to Silva with considerable effect, but Signor Benfratelli was quite unequal to Ernani. The spectators were not very numerous, but they were decidedly appreciative, and when an oasis of song was discovered in the howling desert, their demonstrations of delight were literally boisterous.”

“We are sorry to report that the performance at the Academy of Music last evening was unsuccessful. The house was well filled, but as many of the spectators came only to laugh they might as well have stayed away, for ‘Ernani’ is not in itself a laughable work. Signor Tagliapietra has a very good voice, and would be a very fair representative of Carlo Quinto on any occasion. Last evening the good effect of his singing was heightened by contrast, and he was cheered with great enthusiasm. The lady for whose introduction to the New York public the performance was arranged was evidently ill at ease, and she may have been physically indisposed. But what we could hear of her voice seemed to be harsh and unsympathetic, and we doubt that she can ever succeed upon the stage. We write this with the kindest possible intention. It is no easy task to be successful in grand opera, and there is nothing dishonorable in such a failure as the one which we are here obliged to record.”

“Miss Mohalbi, a new aspirant for operatic honors, appeared at the Academy of Music last night as Elvira in ‘Ernani.’ Whether the lady was still suffering from the severe indisposition that compelled her to postpone the opera last week or whether a mere amateur acquaintance with grand opera marred her efforts, it is necessary to say that she did not fulfill the artistic exigencies of the rôle. Her voice was uncertain, hard, unsympathetic, and her execution and delivery of the music of such a nature as was calculated to destroy in the minds of her hearers any idea regarding Verdi’s music that might be favorably considered. From the beginning to the end of the opera there was not a single scene in which the prima donna could be regarded as even passably successful. Of course indisposition may have much to do with the failure of the new aspirant for operatic honors, but yet there might have been evidences of lyric talent shown even under such discouraging circumstances. Of the rest of the cast, we can praise the fine rendering of the rôle of Carlo Quinto by Signor Tagliapietra. The chorus and orchestra were excellent.”

“Mlle. Mohalbi, who made her debut in opera at the Academy of Music on Wednesday evening, appearing as Elvira in ‘Ernani,’ created a decidedly unfavorable impression by her interpretation, although it is offered in extenuation that she was laboring under the effects of a recent severe indisposition, which prevented her from propely fulfilling the artistic requirements of the part. The lady, besides, was unfortunate in the selection of a role which requires a high standard of dramatic as well vocal ability, and she undoubtedly could offer a better result, under favorable circumstances, in the interpretation of a lighter character, as her sister debutantes have done in their successful presentation of ‘L’Ombra.’ This is the first failure in Maretzek’s American Prima Donna scheme, and should offer hints of value to the succeeding aspirants for lyric fame, especially as to proper preparation and the selection of roles suited to their capabilities.”