“A season of Italian opera, superior in every respect to any ever known in this City, is now near its end. The old system of relying upon a famous soprano, associated with a company of nonentities, a voiceless chorus, and a tuneless orchestra, has, we think, been permanently destroyed by Mr. Strakosch. Certainly Mr. Strakosch has had one bright, particular star in his company in the person of Mme. Nilsson, but without this great artiste’s aid he has given brilliant opera nights—as witness the highly-successful performances of ‘Aida’ and ‘Ernani.’ All the standard operas have been given in the most complete manner, Mr. Strakosch, even in the matter of scenery, having succeeded in establishing a reform upon the stage of the Academy of Music. Throughout the season no opera has been given in a slipshod manner, even such time-honored favorites as ‘Lucia’and ‘Traviata’ being sung with exceptional excellence.

Mr. Strakosch has, however, higher claims on public gratitude than all this can give him. His production of Verdi’s ‘Aida’ and Wagner’s ‘Lohengrin’ will make his managerial efforts memorable above anything achieved by former impresarios. The remarkable performance of ‘Aida’ has received lavish praise from all quarters. It certainly deserved all that has been said about it. In a musical sense, it was as nearly perfect as we could desire. As a spectacle it was magnificent, even in these days of spectacular triumphs. In the case of ‘Lohengrin’ Mr. Strakosch deserves even higher commendation. The difficulties attending the production of such an opera are incredible to the uninitiated. Yet, when such a recital of ‘Lohengrin’ as was witnessed last Monday is to be seen at the close of an unremunerative season, certainly the manager deserves very much higher rewards than he has any possibility of receiving. Had the opera season been highly successful, financially, the manager’s enterprise in the production of one of these novelties would have been something unusual; but we must remember that both of these undertakings were completed at great cost, in the face of rather discouraging business. Again, it should be remembered that, under no circumstances, could Mr. Strakosch hope to be commensurately paid for his outlay in the production of these two operas. A theatrical manager producing a successful play can anticipate a run of a hundred nights, or even more, but no opera could draw for even a dozen consecutive nights. 

Of the artists Mr. Strakosch has shown us this season, there has been but one opinion. They are the best that judgment and liberality could give us. Mme. Nilsson has achieved, if possible, even higher honors this season than heretofore. Miss Cary, who now ranks among the operatic world’s greatest contralti, has increased her already great popularity; and Mlles. Torriani and Maresi have shown themselves brilliant vocalists and actresses. The gentlemen of Mr. Strakosch’s company have proved particularly strong. Signor Campanini is now acknowledged to be the first tenor on the Italian stage. His performances have been a series of triumphs, culminating in his magnificent impersonation of Wagner’s hero. M. Maurel, the principal baritone, in one season has won an extraordinary success. M. Capoul still maintains great popularity, and has shown himself to be an enthusiastic and conscientious artist. Signors Del Puente and Nannetti, two thorough artists, complete this brilliant and exceptional company. It is saying but little to assure Mr. Strakosch that every artist he has brought before us this season will be welcomed in the future as a tried and honored favorite. Lest there be any doubt as to Mr. Strakosch’s determination of not doing things by halves, we are to have a few opera nights with that glorious singer, Mme. Lucca, whose appearance on the Italian stage will be hailed with delight, and will bring a most brilliant operatic season to a triumphant termination.”