Strakosch Italian Opera: Il Trovatore

“We cannot commend the judgment of Mlle. Heilbron in assuming a rôle like that of Leonora for the display of her mild and pretty voice and her gentle method. Melodramatic and passionate parts are not for her; and the American public have been too long accustomed to the broad style and ringing voices of intensely dramatic heroines in this opera to accept without protest the very different interpretation presented by the lady who asked for their suffrages last night. Mlle. Heilbron’s conception of the part does not differ materially from the usual one; but she is not suited physically for the representation of her own ideal. Hence her delivery of the music was often overstrained, and her embellishments were sometimes too ambitious. She is a good artist, however, and several of the numbers allotted to her were rendered with fine taste and correct expression. Sig. Carpi was even more than commonly vigorous and effective in the character of Manrico, and Miss Cary was the Azucena. For Di Luna we had the new baritone, Sig. Tagliapietra, replacing Sig. Del Puente, who is sick. Sig. Tagliapietra has a fine sonorous voice, of great compass and remarkably pleasant quality, and was received with no little favor.”

“A smooth performance of ‘Il Trovatore’ was given at the Academy of Music last evening, Signori Carpi and Tagliapietra, and Mlle. Heilbron and Miss Cary being the artists. The tenor and the contralto were heard a few nights ago in Verdi’s still popular work, and, on that account, a review of their respective efforts is not called for. Mlle. Heilbron, however, sang Leonora for the first time, and Signor Tagliapietra, suddenly summoned to fill Signor Del Puente’s place (that gentleman being ill), made his operatic début as Di Luna. Mlle. Heilbron acquitted herself of her task in the earnest and faithful manner to which we have now become accustomed. Her Leonora was not a great personation, but it was exceedingly intelligent and refined. Signor Tagliapietra, although suffering from hoarseness, produced an excellent impression, and his fine voice—that of a very high baritone-tenor—sounded so well in ‘Il balen’ that the number had to be repeated. Signor Carpi was in splendid condition, and, as a consequence, ‘Ah, si ben mio,’ ‘Di quella pira,’ and ‘Ah, che la morte’ were recited to perfection.”

“The ‘Trovatore’ is by this time a pretty old story, and the audience that gathered to hear it last evening was, as might have been expected, a somewhat slender one. But though old, it was told by new people, Mlle. Heilbron, Signor Carpi, and Signor Tagliapietra being heard for the first time in the several roles of Leonora, Manrico, and Di Luna.

Signor Tagliapietra’s appearance was an unexpected one, the title rôle being assigned in the morning’s advertisements to Del Puente, but that gentleman’s sudden illness made a change necessary at the last moment, and the debut of the new baritone that was to have been made tomorrow, took place last evening instead. He was heard to much disadvantage, as he was evidently laboring under a severe cold, but displayed an admirable method, a clear delivery, especially fine in recitative, a smooth and pleasing voice, and, altogether, made a favorable impression.

Mlle. Heilbron, though somewhat overweighted with the tragic rôle of Leonora, sang it nevertheless like an artist. Miss Cary was really the central figure of the opera, and never took the gypsy character with more fervor and wild picturesqueness than last evening.”

“Verdi’s celebrated opera ‘Il Trovatore’ was presented last night at the Academy of Music, Mlle. Marie Heilbron sustaining the part of Leonora. In consequence of the sudden indisposition of Signor Del Puente, the part of Count di Luna was taken by the new baritone, Signor Tagliapietra. Mlle. Heilbron displayed great artistic skill. In the rendering of the favorite cavatina ‘Tacea la notte placida’ and in the allegro ‘Di tale amor’ which follows, her beautiful voice and highly-finished execution were admired by all. The staccato passages were most clearly articulated, and the tone employed, being remarkably piquant, was extremely suitable for giving the brilliant effect designed by the composer in these vivacious strains.

It was remarkably brisk, lively and bright, yet not sharp, shrill or painfully acute, nor wanting in fullness, volume or other good qualities. In the rapturous melodies at the close of the second act Mlle. Heilbron distinguished herself greatly. The high notes in ‘E questo un sogno’ were attacked with precision and sung with little apparent effort; the tones were light, without being thin, and soft, without appearing weak, for they were most clearly heard and easily followed, although the solo quintet, chorus and orchestra were then combined.

This opera has been given so recently with Signora Potentini in a similar cast that a comparison is provoked which will indicate some of the leading characteristics of both these distinguished singers. Signora Potentini’s high notes are nearly always sung with great power and volume of tone, and are produced by considerable effort after deep inspiration. They seem to require the support of the whole orchestra and music expressive of uncontrolled passion or great general excitement for their full and satisfactory exhibition; while Mlle. Heilbron produces very high notes with ease, and executes on them varied forms of vocalization, and many phases of emotion with equal facility. Signora Potentini makes irresistible appeals to the feelings by the employment of the chest voice, which she delivers with great force in all those parts that require intense fervor and violent emotion to be expressed on low notes; while Mlle. Heilbron, by imparting a gentle undulating character to the tone, acquires the power of exciting sympathetic affections. It is not an easy operation to reason satisfactorily upon sensuous and super-sensuous impressions, without regarding human nature deeply. It is necessary that one should go deliberately to the root of the matter and make an elaborate analysis before venturing to hope that any conclusions will be formed that can be definitely stated or will approximate the truth. Yet immediately after hearing the ‘D’amor sull’ ali rosee’ and the ‘Miserere’ it appeared in the main true that Mlle. Heilbron and Signora Potentini evoke sympathy in deeply passionate and pathetic passages in different ways, and the quality of the emotion is distinguishable. The former, by a peculiar persuasiveness, renders an auditor susceptible to impressions, and induces him voluntarily to yield, or even creates a desire to give sympathy, as to one who has admitted, natural claims; while the latter by some intrinsic force seems to hold us, as it were, under an influence which has the power to compel sympathy—which seems to make resistance vain, and our submission, willing or unwilling, to partake of the nature of passive unreasoning compliance, rather than a generous commiseration. The one appears as possessing, the other as possessed.

After studying these two impersonations, one can clearly see how strangely varied are the ways in which a musical composer’s intentions may be carried out by great artists whose natural gifts, acquired talents and idiosyncracies are so widely different. Each one, by bringing something new, assists us in enlarging our conception of the character, and offers additional proof of the myriad ways in which a musical passage may be modified in actual performance, as well as in the composer’s score; and also provides the psychologist with opportunities of drawing subtle distinctions by which slight variations of soul-states and their manifestations may be easily discriminated.

Miss Cary’s Azucena was as thoroughly enjoyed as on the previous occasion. The dramatic power exhibited was as remarkable as the musical and vocal talent displayed. She portrays with wonderful effect the Gypsy’s ferocious hatred; her horrible—almost fiendish—revenge maddening rage, infuriate wrath, and also bitterness of grief at the execution of her mother, and tender love towards her adopted son. Miss Cary’s singing, in the second act, especially, will not be soon forgotten by those who were made conscious of its excellence.

Signor Carpi sang and acted as well as ever, indulging the audience with his brilliant high C, and prolonging with evident pleasure the B flats.

Signor Tagliapietra has a noble, sonorous, baritone voice, possessing great wealth of tone. His delivery is dignified and yet highly energetic. He has a remarkably good stage presence and acts well. He sang the ‘Di geloso amor’ of the first act with great force and vehemence. The ‘Il balen’ was encored unanimously, so excellently was it given. The voice, though massive and strong, is completely under control, and so flexible as to enable him to execute with great neatness florid passages, as was proved by the way in which the cadenzas in this song were sung. It was transposed one semi-tone lower, but not because Signor Tagliapietra cannot sing high notes, for he gave two or three magnificent G flats, and it is understood that he sustains A flat with equal energy. Signor Tagliapietra will appear on Wednesday evening as Rigoletto…

Signor Scolara, as Ferrando, also received the attention of the house, and a share of the praise which was freely bestowed by a gratified, enthusiastic and demonstrative, though comparatively small, audience.”