Strakosch Italian Opera: Concert: 6th

“Karl Formes, famously killed in a botched cable transmission, recently arrived here and will appear in several Italian opera performances as well as a major concert at Steinway Hall. The great Karl will first appear next Sunday in one of his signature roles, ‘Basilio’ in Rossini’s ‘Barbier.’ The performance takes place at the Grand Opera House.”

“Mr. Max Strakosch’s opera troupe performed Rossini’s ‘Barber of Seville’ last night before a crowded audience at the Grand Opera House. The opera, the first performances of which at the Academy of Music have already been reviewed in detail, was once again satisfactorily presented in every respect. Last night’s performance aroused particular interest among a large number of the audience because of the reappearance of Mr. Karl Formes on the operatic stage. The once-famous bass sang the role of ‘Basilio.’ It is and remains a pleasure to hear and see Formes in this role; he is still a great ‘Basilio.’ Although his voice no longer possesses the rippling, wall-shaking power it had years ago, Formes knows how to skillfully exploit its remaining strength, so that his delivery, combined with his truly masterful acting, makes a lasting impression. No modern singer can interpret the great slanderous aria of ‘Basilio’ with the artistic perfection he does. He knows how to elevate every note. Incidentally, Mr. Formes’s voice was in exceptionally good shape last night, so that even the low notes were presented confidently, easily, and fully. The artist was not lacking in thunderous applause. Mr. Formes will make several more guest appearances at the Italian opera, in roles in which he previously had no rival.”

“The performance of ‘The Barber of Seville’ last night at the Grand Opera House was notable for the reappearance of Mr. Carl Formes, who was enthusiastically received by a large audience. The great basso took the part of Don Basilio, and we need hardly say that he raised that amusing character to an importance it has not often enjoyed on our stage. It was refreshing to see it in the keeping of an artist of such superior powers. Mr. Formes is one of the few singers New-York has heard to whom the epithet great could be applied without exaggeration. He was great alike in voice, style, dramatic action, and intelligence, and though his voice has gone through some unfortunate vicissitudes from time to time, he has always remained great in many of the highest qualities of a lyric artist. Since we last heard him his tones have gained much in strength and clearness, and many of his low notes last night almost brought back the triumphs of his first appearance in New-York in 1857, when he produced such a popular sensation as Bertram and Marcel. He is one whom our stage cannot afford to lose, and the public has reason to congratulate itself upon his return to the boards.

The other roles were filled last night by [lists cast], and the performance was brisk and entertaining. Mr. Behrens was the conductor.”

“…The entertainment, which was but a repetition of that lately given at the Academy, except in respect of Don Basilio—a clever histrionic effort on the part of Herr Formes—passed off with unbroken smoothness, and afforded great pleasure to an audience numerous and appreciative.” 

“In the hands of competent artists Rossini’s “Barber of Seville” always asserts itself as the most charming of all the comic operas that ever were written. Last evening it received a thoroughly enjoyable presentation. Whether it is that the fun of the opera evaporates in the great Academy or whether the artists are inspired by the less fashionable but more demonstrative audiences Sunday evening, it is difficult to say, but it is a fact that at the smaller theatre in which the performances take place on Sunday evening the singers give themselves up to the spirit of the occasion far more than on the formal week day performances. Last evening they were all in the gayest humor, and they gave one of the brightest and most amusing performances of the ‘Barber’ that has been seen in many a day.

Carl Formes, who reappeared after a long absence from the stage, in the character of Don Basilio, contributed, by his capital acting and still effective and powerful voice, not a little to this result. He was warmly welcomed and sang the great Columnia song with extraordinary effect. But all the artists lent their best endeavors, and between Del Puente, who was the Barber, De Bassini, who was the Almaviva, and Scolara, who was Doctor Bartolo, the praise should be evenly divided. The first has a kindly, happy good nature that fit him well for the effervescent Barber, the second is one of the few tenors who can sing Rossini thoroughly well, and the third is an admirable character actor, whose by-play is always in good taste and amusing, and who sings with correctness.

Mlle. Donadio also gave a very artistic, though somewhat colorless, rendering of Rosina. Beaumarchais’s heroine had more life and vivacity than Mlle. Donadio gives her credit for. At the singing lesson she inserted the Shadow song from ‘Dinorah,’ and sang it well.”

“The increase in the attendance at the third Sunday operatic performance at the Grand Opera House last night was of the most marked kind. The opera was Rossini’s ‘Il Barbiere di Seviglia,’ a work which has gone through the wear and tear of sixty years’ popularity without losing the freshness of one of its melodies. The age of Almavivas and Rosinas seems to have departed, and declamation has taken the place of vocalization. The florid music of Rossini finds very few apt interpreters at the present day, when the public taste demands lyric food of a stronger kind. Mlle. Donadio has a light, agreeable voice, sufficiently flexible for all the requirements of the rôle of Rosina, and her acting is natural and graceful. Signor DeBassini gave effect to the music of the Count and played the part with animation and ease. Signor Del Puente made an excellent Figaro and fairly danced the rôle through with mischievous humor and merriment. Carl Formes made his first appearance as the sly old music master, Basilio, and was greeted with enthusiasm by the audience. The great aria ‘La calunnia,’ which he once sang with electric effect, was delivered last evening with a little of his former power and he was recalled several times. But the want of steadiness in the tone and evidences of weakness at times showed that the great voice had not fully recovered from its state of decadence. Fiorini appeared as Bartolo, and Mr. S. Behrens conducted the orchestra. Mlle. Albani attended the performance last evening.”