Strakosch Italian Opera: Mignon

Cast list. 

“The favor with which ‘Mignon’ has always been received in New-York is attributable far more to the prima donna than the composer, and if the first interpreter of M. Ambroise Thomas’s heroine had been an artist less eminent than Mme. Nilsson we doubt whether the opera would have survived a single season. That it has been established as a standard favorite is not at all certain. Music so trivial and uninspired never filled a great place on the Italian stage before, and when the charm of the one fine character that gave it fame is removed from the scene it is wonderful how little there is left. Madame Nilsson succeeded in suffusing the whole drama with a soft light of romance, Madame Lucca made her own part so picturesque and entertaining that for the sake of it people liked the whole opera. Miss Albani has not the dramatic art of either of her predecessors, and she cannot save ‘Mignon,’ therefore, from lapses into dullness. Her personation of the heroine is distinct and graceful, and her conception of the part is intelligent and poetical. It must be confessed, however, that the impression which she makes is not a deep one, and that she is less successful in this rôle than in either of the others she has tried in New-York. The first act dragged. The first terzetto was ineffective, and Miss Albani delivered her romanza, ‘Non conosci il bel suoi?’ with singular lack of feeling. To the duet, ‘Leggiadre rondinelle,’ however, no objection—so far as she was concerned—could possibly be taken; and in the after parts of the opera a brighter spirit took possession of the whole company. Miss Albani delivered the styrienne before the mirror, ‘Io conosco un garzoncel’ with exquisite neatness, and took the descending and ascending runs at the end with a brilliancy and facility that greatly excited the house, touching E above the staff with a perfect intonation, and closing with a delicate high D. Her action in this part of the opera was admirable.

The Filina of Mlle. Heilbron and the Guglielmo of Signor De Bassini were both excellent, the lady winning an encore by the familiar Polonaise, and sustaining her vivacious and agreeable part with apparent ease all through the evening; and the tenor adding by his pleasant voice and impassioned delivery to the good impression he made some time ago in the ‘Barber.’ Miss Cary as Federigo charmed everybody. Sig. Fiorini was certainly not a very satisfactory Lotario, and the big voice of Sig. Scolara threaten the music of Laerte as a trip-hammer might treat a butterfly. Are the absurdities of the conflagration scene never to be reformed? The aimless and idiotic populace attempted to extinguish the flame last night by throwing clothes-lines at it.”

“’Mignon’ was performed at the Academy of Music last evening. Its representation attracted an audience that filled the house to overflowing, and passed off with the wonted smoothness. We do not, however, place Mlle. Albani’s personation of Mignon on a plane with her previous efforts. This sauvagerie of the character is scarcely in accord with the prima donna’s sunny face and disposition, and, from a lyric standpoint, the strained melodies of Thomas exact more affectation of delivery than is to be reckoned against Mlle. Albani, and derive only slight benefit from her fine voice and broad phrasing. This does not imply that Mlle. Albani does not act the part well or sing the music with skill and taste; it simply means that Mignon is less suited to the lady than Gilda or Amina, both of which personages, it should be added, make much heavier demands upon their interpreters. In spite of the fact, there was hearty applause for the artist throughout the entertainment, and the styrienne was selected from the best known numbers of the score for repetition, while the duet ‘Leggiadre rondinelle’ narrowly escaped a second rehearsal. The pretty romance—‘Ahi, non credevi tu’--although recited without marked expressiveness and with an excess of action by Signor De Bassini, was also encored, and so was the polonaise, from the difficulties of which Mlle. Heilbron did not for a minute shrink. Signor Fiorini was Lotario, and, as heretofore, the subsidiary roles of Laerte and Federico were filled respectively by Signor Scolara and Miss Cary.”

“Mlle. Albani appeared last evening in a new character, that of Mignon, endeared to all opera goers by so many associations with Madame Nilsson.

In spite of the inevitable comparison that must have suggested itself to all who heard the Swedish singer in the character, Mlle. Albani satisfied the ideal in every way. Her acting was ingenious, direct, and spontaneous, and she gave a beautiful presentment of Goethe’s heroine, correct in conception, artistic in action, and vocally finely rendered.

The cast was in other respects one of exception merit, Mlle. Heilbron taking with great spirit and finish the part of Felina, and winning in the Polacca a well-merited encore. De Bassini, Miss Cary, Fiorini, and Scolara completed the cast. We have not space at present to enter into details or to do more than record a very smooth and symmetrical performance of the opera.”

“At the Academy of Music last night, Ambroise Thomas’s opera ‘Mignon’ was presented for the first time this season. There was a remarkably good attendance, for many were attracted thither not only to hear this popular work, or Mlle. Albani, or Mlle. Heilbron, but to take the opportunity of comparing these singers, who are already great favorites.

Mlle. Albani appeared as Mignon… [lists cast]. Mlle. Albani as primo soprano was greatly admired. In the romanza ‘Non conosci,’ her voice, produced with such care and finished art, was heard with great pleasure; and at the rapturous feeling of the sense of freedom that is portrayed at the words ‘Sciolta! Sciolta!’ and in the subsequent duet with Lothario, ‘Leggiardre rondinelle,’ sang so well that the house was rallied to considerable enthusiasm. But in the soliloquy of the second act, with its favorite characteristic melody, ‘Conosco un zingarello,’ she achieved the greatest success, and, being recalled, was induced to repeat the final strains. On both occasions she rose and finished on high D, which was a note of good quality, and produced with apparent ease and freedom. Her knowledge of musical art and highly cultivated ear were therein made known; for after a prolonged series of shakes and echoed passages in the style of Meyerbeer’s ‘Shadow song’ in Dinorah, which were sung without accompaniment, she did not deviate from the pitch or lose the knowledge of the exact position of the key-note; which was proved on the re-entry of the orchestra. In the recitative, ‘Ella à là presso,’ also, which begins with the second tableau of the same act, she made an equally good impression.

Mlle. Heilbron, as soprano leggiero, found ample means for the employment of her great powers of execution. In the finale at the conclusion of the first act, and in the trio of the second act, numerous ornamental passages and brilliant shakes were continuously sung, which greatly increased the good effect produced by the ensemble. In the coquettish little melody ‘Gai complimenti,’ her rapid delivery of the most florid parts, and graceful, easy enunciation of the text also were extremely good. But the celebrated polacca ‘Io son Titani’ was the chief ‘number,’ which gave her an opportunity of displaying to advantage her varied powers. She sang it in the key of B flat, with very considerable liveliness and piquancy, and towards its close in a very elaborate cadenza—which contained chords in arpeggio sounding chromatically, and octave passages similarly treated—sang so well that a most enthusiastic encore followed. Mlle. Heilbron’s feeling for rhythm was particularly manifested in this song, which added greatly to the charm of its dance-like motion.

Signor De Bassini sang ‘Quante grazie! quante vezzi!’ very effectively, and made a marked impression in the melody, ‘Addio Mignon!’ But in the air ‘Ah quali sguardo strano’ of the third act he was most admired. The delivery of the words at the close, ‘Un sospiro d’amor!’ was marked by intense fervor and highly-wrought feeling, and received full recognition from the audience.

The parts for the rest of the dramatis personae in this opera are so weak that they appear almost unworthy the attention of the artists engaged in their performance. It seems most astonishing that a great singer like Miss Cary should be retained to do so very little. Mr. Strakosch, in providing a well-balanced company, must now produce operas which are more worthy the attention of each member of it, or the full advantages to be gained by the arrangement will not be secured. We wait with patience the promised production of ‘Roberto,’ ‘Le Prophete,’ ‘Gli Ugonotti’ and ‘L’Etoile du Nord,’ by Meyerbeer, all of which are entitled to be called grand operas, and provide ample employment for each individual singer.” 

“Mlle. Emma Albani appeared last night for the first time as Mignon in Ambroise Thomas’ opera. It was a very remarkable impersonation, as unlike those of her two predecessors as can be. It was characterized by naiveté, childlike sweetness, exquisite singing and that nameless charm of magnetism which is the chief attribute of genius. From the time that the ill-treated child appears among her gypsy abductors until she awakes to a realization of her true position in her Italian home, throughout the scenes of Mignon’s checkered life, her meeting with her father, who wanders in search of her, crazy on account of losing her, her rescue from the brutality of her gypsy master, her love for the gallant gentleman who gives her freedom, her jealousy of the scheming actress who treats human affections and sufferings with a like indifference, her despair when she finds herself abandoned, her bright dreams of home and her joy in finding herself with her lover and father, never more to be separated, all those changing phases of the story were interpreted by Mlle. Albani with a power that drew all its attractiveness from its complete naturalness. We missed many of the ‘effects’ that in certain scenes have been brought in to insure applause, but in their stead was something more valuable—true art. The romance, which seems to give a definite musical coloring to the title rôle, ‘Non conosci il bei suoi,’ was rendered with much feeling by Mlle. Albani. We would prefer, however, a more liberal use of tempo rubato in this beautiful aria. The conductor’s baton at times should be subservient to the prima donna. The duet, ‘Leggiadre rendinelle,’ a number worthy of Mozart, was partly nullified by the shortcomings of the basso, although the prima donna gave entire satisfaction. In the second act the ‘Styrienne,’ the most popular and most dashing number in the opera, became the principal feature of the performance. Mlle. Albani’s acting and singing in this scene deserved the applause that rewarded her and bore out to the fullest extent the high anticipation formed of her Mignon. She was gay without being boisterous, and romped through the scene without making use of studied poses and points. The scene before the castle on the shore of the lake, in which Mignon, distracted with jealousy while listening to the triumph of her rival in the theatrical performance within, moans the words, ‘Ella à là, presso a lui! vittorioso ella gode,’ brought out the warmth of dramatic expression so eminently possessed by our American prima donna in its brightest form. The last scene was full of sympathetic power and tenderness. The Mignon of Mlle. Albani may be regarded as a very touching operatic impersonation, and will be attractive to all who look for an unexceptional school of singing –a sweet, sympathetic voice, personal attractions, and artlessness of manner. Mlle. Heilbron proved to be the best representative of the coquettish actress, Filina, we have had in New York. The light, brilliant music of the rôle seemed to suit her better than any she has heretofore essayed during the present season, and in the well known ‘Polacca’ she gained an encore. Miss Cary made the most of the stupid rôle of Federico and sang the rondo gavotte in the second act commendably. Signor De Bassini created a very favorable impression in the rôle of Guglielmo (Wilhelm Meister), and sang the two airs, ‘Addio, Mignon,’ and ‘Ah! no credea l’affitta,’ with neatness and expression, reminding one very much of Capoul. His acting, however, did not by any means reach the same standard. The Lotario of Signor Fiorini was destitute of any quality that could recommend it to praise, and the Giarno of Mr. Hall was a very ferocious portraiture. Certain slips in the chorus and orchestra marred their otherwise commendable performance. The opera can never be pleasing to a musical mind out of its congenial sphere, the Opera Comique, where it was first produced just eight years ago. The Italian recitatives are poor substitutes for the French dialogue and the common themes in which the chorus is introduced are beneath the dignity of the grand opera. ‘Mignon’ on the Opera Comique stage in Paris and on the Italian opera boards represents a very different work. Yet such a performance as that Mlle. Albani presented last night would tend to give attraction to even a worse opera.”

“’Mignon’ was sung at the Academy of Music, last evening, by Mlle. Albani and the artists who took part in Wednesday’s representation. The performance does not call for review; as its predecessor, it was smooth, and occasionally effective, but we cannot place it on a plane with most of the entertainments given this season.”

“The lyric impersonation of one of the most poetical characters in German literature, the Mignon of Goethe, with all the faults of the librettist and composer, the former presenting the character as in a dissolving view and the latter introducing at intervals music more adapted to the bouffe stage than anything else, must be always a subject of interest to the opera-goer, when it is undertaken by a great artist. Mlle. Albani significantly confirmed the favorable impression she created on Wednesday night. The artlessness of manner, finish of style and tenderness in acting and singing made the Mignon of last evening one to be remembered. In the first romance, ‘Knowest thou the land,’ and in the Swallows’ duet she infused such expression in the rendering that each note seemed to be a tear. Mlle. Heilbron repeated her success as Filina, and if she will only rid herself of the disagreeable tremolo which has crept into her voice she will leave no room for complaint. De Bassini sang splendidly and received deserved applause. He is not a graceful actor and requires much experience and many lessons in this line. Fiorini’s Lotario does not improve in acquaintance. Miss Cary, always charming on anything she undertakes, was an admirable Federico.”