Strakosch Italian Opera: Aida

“Although the performance of ‘Aida’ is so familiar as to need no notice at our hands, it should be mentioned here that Verdi’s latest opera was repeated last evening at the Academy of Music, by the same artists who appeared in it on the second night of the present season. ‘Aida’ has had a large measure of success; Verdi’s operas stand alone among the achievements of modern Italian composers in respect of a hold upon the public, and the result of the Khédive’s commission—although we believe it is not intended to sing it again this year—seems certainly destined to have a permanent place in the current repertoire.”

“Verdi’s last and most powerful work, in which the new style of that great maestro is so favorably shown, and in which Oriental splendor is united to strange, characteristic forms of music, was presented at the Academy of Music last night, for the last time this season, before a slender audience. The cast, as before, comprised the following artists [lists performers]. Of this cast the most notable impersonation is that of the vengeful Egyptian princess by Miss Cary, who now unites rare histrionic talents to one of the best and richest contralto voices on the operatic stage at present. The duet between her and the tenor in the last act was omitted last evening.”

“Verdi’s last opera was given at the matinée yesterday at the Academy of Music before a larger audience than is generally seen this season at the Saturday afternoon performances of the Strakosch troupe. There is no doubt now of the entire popularity of this magnificent work, which becomes more attractive the oftener it is heard. The feature of the present cast is undoubtedly Miss Cary, whose impersonation of the rôle of Amneris has become worthy of being placed in the gallery of great lyric portraits. She has entirely mastered the dramatic requirements of the rôle, and she sings the music with an ease and expression that fulfills every demand. Mme. Potentini, who undertook the title rôle yesterday, was so ill that an apology had to be made for her before the third act by Mr. Lanza, the prompter. Carpi was in fine voice, and the trying music of Radames found in him a faithful interpreter. His acting of the part, however, is not satisfactory. Del Puente, as Amonasro, and Scolara, as the King, were deserving of praise, and Fiorini, as Ramfis, was not.”