Strakosch Italian Opera: Lohengrin

“Grand gala night.” To be attended by His Majesty King Kalakaua; to be welcomed by the playing of the Hawaiian national anthem.

Three special operatic performances to be given this week at the Academy of Music.

Cast list. “King Kalakaua and his entourage, Mayor Vance, and the City Council Committee will attend this evening. In honor of His Royal Majesty, Signor Muzio will play the Hawaiian National Anthem.”

“Herr Strakosch’s Italian Opera Company gave the first of its three farewell performances, which will conclude the fall season, at the Academy of Music last night. ‘Lohengrin’ was the opera, and because the management had wisely announced the attendance of His Majesty King Kalakaua, the house was completely filled. The audience’s attention, therefore, was not focused on the opera, but rather on the King, who with his entrouage, Mayor Vance, and other city officials, occupied a large loge box to the left of the first tier, which had been decorated with the Star-Spangled Banner and Hawaiian colors. We watched the King very closely to see what impression Wagner’s music would make on him. His Majesty remained very calm; even the Hawaiian national anthem did not move him. But he was interested in the ‘fight’ between Lohengrin and Telramund, the swans, and the trumpeters on the stage. The performance of ‘Lohengrin’ was satisfactory. Carpi excelled in the title role. Fräulein Albani seemed not in the best voice but still up to her part, as were Fräulein Cary, Herr Del Puente, and Herr Scolara.”

Details of King Kalakaua’s visit to the opera; others who occupied the boxes reserved for his party; visit behind the scenes and introduction to Mlle. Albani, Miss Cary, and Signor Muzio.

“The satisfaction of the Academy audience, last night, was clearly vicarious—ecstacy at the remove, so to speak. That is to say, his Majesty King Kalakaua came to enjoy the music, and the audience came to enjoy his enjoyment. Both parties were content. His Majesty, whose opportunities for the cultivation of dramatic music at Hawaii are limited, took great pleasure in the melodious sorrows of Elsa and Ortend, without too narrow scrutiny into the manner of their presentment. Sooth to say, the opera was [illegible] sung; rarely or never worse, and on anything else than a royal reception would have deserved and received scant praise. But the [illegible] of royal prerogative, like charity, covers a multitude of sins; and then the [weather?] is vile enough to excuse even more glaring [3 illegible words] than those which injured so much of the music last night. But if that the fog had got [illegible] the whole machinery and let it pass, it might not be out of the way, however, to beg the gentlemen who supervise the royal junketing to keep a little closer to the time table, in future, on all occasions where large numbers of people will be kept waiting by delay. The beginning of the overture had been announced for half past seven, and the majority of the audience were quietly in their seats by that time, but the distinguished guests did not arrive till nearly half-past eight. We do not catch a King often enough to make light of him when caught, so Mr. Muzio dutifully waited with suspended baton till the star of the evening had entered his box, and kindly stood for a few moments contemplating the house, to the great satisfaction of the ladies in the proscenium boxes, after which the opera went on. But when [illegible] on the keener flavor of the music insured by that extra hour of kingly digestion, who would repine?"

“Wagner’s celebrated opera ‘Lohengrin’ was performed last night at the Academy of Music. The house was crowded. Immediately after the Hawaiian Hymn had been played in honor of King Kalakaua, the prelude to the opera was begun, the audience preserving so strict a silence that even the most delicate part of this extremely beautiful and suggestive introduction was then heard for the first time in the Academy of Music.

The performances of the orchestra throughout were worthy of praise, but it is singular that the trombones on this, as on previous occasions, invariably failed to produce the ‘A’ that occurs three or four times as the most emphatic note in a significant passage, which Wagner frequently employs previous to some important announcement being made by the King or other principal personage. Wagner requires more from the brass instruments than writers of the Italian school, but his demands are not extravagant. It is certainly not too much to expect of trombones that they should be able to produce with certainty the key-note of the orchestra.

Mlle. Albani’s Elsa was thoroughly enjoyed. It is unnecessary to point out specifically the parts in which she was most successful. The impersonation was entirely satisfactory. Her general appearance, the extreme beauty of her vocal tones, and highly artistic style of singing; the care with which the language is treated, and the absolute fidelity to the composer’s score, her acting and extremely earnest manner, combine to give an impression which is not easily forgotten.

Miss Cary’s Ortrud is entitled to receive similar praise. Signor Del Puente also greatly distinguished himself in the part of Frederick. These great singers found full scope for the exercise of their artistic powers in the first scene of the second act. The technical difficulties to be overcome before this wonderfully graphic music can be correctly rendered are very considerable; to master them so completely that the vocal progressions may be firmly retained in the memory, and then sung with such apparent ease, that they do not seem to absorb at any time the attention of the performer, while engaged in a dramatic realization of a scene which makes great demands on many varied powers, is a triumph that few can witness without being highly gratified. Miss Cary’s magnificent tones and great histrionic abilities are never more enjoyed than when she calls, as in this opera, the immortals, ‘Odin’ and ‘Freya,’ to smile approvingly on her vengeance. Signor Carpi acquitted himself well. The part is eminently well fitted to afford this distinguished singer opportunities for the display of his special gifts and attainments.

The voices of the King and Herald were too weak to deliver the music creditably, and when they were ‘forced,’ became inferior in quality and occasionally out of tune.

The choruses were frequently so horribly out of tune that their entry was anticipated with dread. The elaborate progressions and complicated harmonies in Wagner’s concerted pieces are such that a fault in the intonation of any one part is fatal the the effect of the whole. Last night the choruses were not occasionally or accidently below the pitch, but constantly and persistently so. The opera was greatly curtailed, and the choruses were mostly cut, especially when exceptionally rich and elaborate passages appeared. The Italian Italian-opera is a model of formalism as far as regards the separate pieces of aria, duet, &c., but it has no organic form like the Wagnerian opera. Here no musical idea is elaborated for its own sake, but is set aside for fear of impeding the action. Wagner reserves for certain salient points the themes which shall receive development, and thus be spread forth into broad movements that seem to culminate periodically and afford rest for the mind, which has become slightly wearied with the constant change necessitated by the action. If now these choruses [eight illegible lines] proportions are destroyed the result is [vitiated?].

On more than one occasion the chorus singers, leaving their separate parts, vociferated in unison the principal melodic strain.” 

King Kalakaua’s lively interest in Wagner’s music; introduction to Mlle. Albani, Miss Cary, and Signor Muzio following the second act; desire to remain until the end of the performance. 

“As three subscription performances were necessary to close the fall season of Mr. Strakosch he wisely selected the holidays for the purpose. He secured a densely thronged house last night, presenting the double attractions of ‘Lohengrin’—the most successful opera ever brought out by him—and the presence of King Kalakaua, who showed his appreciation of the music of the future by remaining until the end of the opera. The cast was precisely the same as we have criticised on a former occasion [lists cast]. Mlle. Albani was in very good voice, notwithstanding the extreme fatigue she has undergone for the last few weeks in Philadelphia and Boston and the inclement, foggy atmosphere calculated to mar such a delicate vocal organ. Whether the presence of royalty or the cheering, brilliant sight of a crowded and well dressed house had any beneficial effect on the young American songstress, it is certain that her rendering of Elsa possessed a degree of spirited, well sustained power and emotional expression beyond what her previous efforts in this trying rôle would lead one to expect. From the first appearance of Elsa before the King to answer in person the terrible accusation of Frederick until the last scene when she sings a despairing adieu to the departing Lohengrin, Mlle. Albani sustained in every scene the high reputation she has gained in this city. The duet in the second act with Ortrud, commencing with the lovely aria from the balcony, in which there is a breath of real Italian melody, and the long love duet in the beginning of the last act, were Mlle. Albani’s most impressive triumphs. Although the caliber of her voice is rather light for such music, yet such is the effect of her finished school of singing, artlessness of manner and charm in acting, that one is inclined to forget to some extent the deficiency in question. Miss Cary seems to have gained a complete mastery over the manifold difficulties, in the musical and dramatic senses of the word, with which the rôle of Ortrud abounds, and Signor Carpi sang with his wonted fire and steadiness under the terrible ordeal of such a tenor part, albeit his acting and stage appearance are very much against his success as a lyric artist. Del Puente was satisfactory in every respect in the baritone rôle, and Scolara hardly up to the standard of a mediocre king. The representative of the Herald was so entirely destitute of the vocal qualities necessary for such a part that it is a matter of surprise that he was allowed to sing on this occasion. There are deficiencies in the rendering of an operatic rôle which may be lightly passed over on some grounds, but utter incompetency can have no excuse. The chorus and orchestra, under Muzio’s direction, were very good and had few blemishes.”