Strakosch Italian Opera: Lohengrin

“The representation of ‘Lohengrin’ at the Academy of Music last evening was witnessed by a very large audience. It can no longer be doubted that the success of Wagner’s work is something more than a succès de curiosité, for while the assemblages are of almost unvarying magnitude, the applause is nightly more and more frequent and enthusiastic. A closer acquaintance with the score, and, as a consequence, an increased insight into its beauties, has been secured for ‘Lohengrin’ by the admirable recital of the opera by Mr. Strakosch’s artists; and now that the dangerous formalities of an introduction have been safely gotten over, we are half inclined to predict that ‘Lohengrin’ will henceforward be a part of the current répertoire. Although Wagner’s compositions require a completeness of ensemble not attained to in one theatre out of ten, their impressiveness is, of course, largely influenced by the fitness of the chief singers for their respective tasks. The titular rôle in ‘Lohengrin’ is the great role, and it has been the good fortune of the New-York public that it has fallen to Signor Campanini. The part of the Knight of the Grail is the effective one par excellence, but, it should be said, it is also the most trying. Lohengrin sings throughout the evening, and his music is an unbroken sostenuto on the highest tones of the voice. Signor Campanini is able to conform to the requirements of the character, and he brings to the use of his exceptional gifts a mastery of the vocal art which had never before been so clearly proven. The tenor respects time and tune—no small matter in the Wagnerian opera—without being hampered by the composer’s intentions, and his phrasing is always in excellent taste. Then Signor Campanini infuses into his personation a dignity of bearing to which no higher praise can be accorded, in our judgment, then to consider it in keeping with the personage, and, at the different stages of the action where love for Elsa transforms the hero into a being akin to poor humanity, he expresses, in the happiest manner, a passion in which warmth and chasteness have to be combined with uncommon skill. The points at which Signor Campanini was most applauded last night were those upon which we have often dwelt, and which, on that account, do not need review. Although he has not yet been altogether free from hoarseness, the tenor’s vocal condition is much improved, and only at the close of ‘Lohengrin,’ yesterday, was a reminder of his indisposition perceptible. Mme. Nilsson, whose exceedingly refined picture of Elsa is certainly deserving of commendation, though we cannot say that it moves us to actual wonderment, had, too, repeated evidences of the audience’s partiality for the absolute purity of her face and form and singing; and Miss Cary and Signori Del Puente and Nannetti did their duty as faithfully as heretofore.”

“The increasing interest felt in Wagner’s music was shown in the very large attendance at the Academy of Music last night, which included, besides old frequenters of the house who had heard the work several times, a number of fresh visitors, attracted by the extraordinary reputation of ‘Lohengrin.’ The performance was an admirable one in all respects. Nilsson and Campanini, as usual in this work, carried away the honors, and were liberally rewarded with flowers and applause.

It is evident that the interest in this Wagnerian opera is by no means exhausted, and it might be repeated several times more with advantage to the managerial treasury. Its last representation for the present is announced, however, for the Saturday matinee; but from present appearances it would appear that ‘Lohengrin,’ for some seasons, at least, will become a standard feature of our operatic repertoire.”

“Mr. Strakosch’s six weeks’ Spring season of Italian opera at the Academy was brought to a close yesterday with an admirable performance of ‘Lohengrin.’ Wagner’s work has certainly produced a deep impression, and the audience at the matinée could not have been increased in numbers by any known devices that would not have suddenly enlarged the house. Signor Campanini was in fine voice—an improved condition of affairs, by which Brooklyn opera-goers will benefit to-morrow, when ‘Lohengrin’ will be sung in the City of Churches—and the representation progressed with perfect smoothness to a triumphant climax.”

[synopsis of the opera, followed by:] “The music of Lohengrin never for a moment falls below the high standard adopted at the outset and, from the beginning of the opera to the end, there is no anti-climax. Not a link in the chain of artistic development is missing, and there is, consequently, no opportunity for applause save at the end of an act. Those in the audience who undertook to express their approval in the usual manner, at the end of some particularly telling passage, soon perceived that they were trespassing on the composer’s gound. Concerning the excellent manner in which this opera is brought out by Mr. Strakosch, and the extraordinary merit of the artists who filled the leading rôles, there is much to say; far more than I can bring within the compass of a single letter. I hope to refer to the subject in future.”