Maretzek Italian Opera: Don Giovanni

Event Information

Venue(s):
Academy of Music

Manager / Director:
Max Maretzek

Conductor(s):
Max Maretzek

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
29 August 2018

Performance Date(s) and Time(s)

20 Nov 1863, Evening

Performers and/or Works Performed

1)
Participants:  Maretzek Italian Opera Company;  Wilhelm [baritone] Müller (role: Il Commendatore);  Amalia Patti Strakosch (role: Donna Elvira);  Domenico Coletti (role: Masetto);  Clara Louise Kellogg (role: Zerlina);  Fernando [bass-baritone] Bellini (role: Don Giovanni);  Giuseppina Medori (role: Donna Anna);  Hannibal Biachi (role: Leporello);  Giuseppe Tamaro (role: Don Ottavio)
2)
aka Dissoluto punito, Il; ossia Il Don Giovanni Libertine Punished, The; or Don Giovanni
Composer(s): Mozart
Text Author: da Ponte

Citations

1)
Announcement: New York Post, 16 November 1863, 2.

“It is safe to assume that the whole performance will be the finest yet given by Maretzek.”

2)
Announcement: New-York Times, 16 November 1863, 4.

“Mr. Maretzek’s season is drawing rapidly to a close.  The present is the last week but one of his Fall campaign.  One the 1st of next month the Academy will be handed over to the Germans under Mr. Anschutz; they will retain it for three months.  Mr. Maretzek is, as usual, making every effort to add brilliancy and variety to his final programmes.”

3)
Advertisement: New York Herald, 19 November 1863.

4)
Advertisement: Courrier des États-Unis, 19 November 1863.

5)
Announcement: Courrier des États-Unis, 19 November 1863.

Admirers of Verdi have been lucky this season.  Ernani, Il Trovatore, and La Traviata have met with a very positive reception.  Music lovers have also had the opportunity to appreciate the music of lesser known composers, with Ione and Judith.

6)
Advertisement: New-Yorker Staats-Zeitung und Herold, 19 November 1863.

7)
Advertisement: New-York Times, 20 November 1863, 7.

8)
Announcement: Courrier des États-Unis, 20 November 1863.

9)
Review: Musical Review and World, 21 November 1863, 280.

Brief mention.  “This is worldly opera, with occasional flashes of heavenly music.  After all, old Mozart still lives!”

10)
Review: New York Herald, 21 November 1863, 6.

Long review.  Medori wanted Maretzek to provide a new black domino for the ball scene, but he refused, saying that the opera called for a white one.  It was rumored that she threatened not to sing unless she got her way.  Part of the public came out to see who won the fight.  “There was an immense audience assembled last night. . . .

There were people at the Opera last night who went merely to see whether Max or Medori would win in this operatic struggle. . . .

. . . [Medori] appeared in the ball scene with a new black domino of immense dimensions. . . . Thus the artiste was not abashed by being forced to wear the white domino, which on this occasion would have been a sign of defeat, and Max did not furnish the black domino, and so both manager and artiste were triumphant. . . .

Before noticing the performance, we will state that it is remarked with pleasure that both ladies and gentlemen are dressing more for the opera than was formerly the case.  Still there are persons who come to the Academy of Music as they would go to Bryants’ or Wood’s minstrel halls—nice places in their way, but not quite so fashionable as the Opera House.  Sack coats, dirty boots and ungloved hands are more fitted for the stable than the Opera, and we would advise those who thus present themselves at the latter place to pay more respect to the usages of society.  In Paris or London full dress at the Opera is de rigeur.  Hence the more brilliant appearance of the Opera Houses in those capitals.  In London they allow no ladies to enter with bonnets on. . . .

There were a number of gay uniforms scattered throughout the Academy of Music last evening, and these added to the more than usually brilliant display of toilette made.  Noticeable among those wearing these uniforms were the officers of the foreign vessels now in our harbor, and more especially the Italians, who were quite covered with gold lace and bullion.  In these days of great per cent for gold, the fortunate individuals referred to were gazed at with unconcealed envy.

The mise en scene, choruses and the instrumental music of the opera . . . were all that could be desired. Maretzek led the orchestra with his usual skill. This is no small accomplishment when it is borne in mind that this work is considered one of great classical merit, and that at the same time it is comic to a degree. The orchestra, under the careful management of Maretzek, had had one rehearsal, and this contributed to the success of the representation.

 In the first act Mme. Medori (Donna Anna) sang the aria with great effect . . . [T]hroughout the performance [Medori] was very successful and met with the warmest tokens of approval from the public.  Biachi, who sang and acted the role of Leporello with skill and judgment, was particularly successful in the rendition of the ‘Madamina’ in the first act.

Miss Kellogg (Zerlina) sang the cavatinas ‘Batti, Batti’ and ‘Vedrai Carino’ with great expression and taste, and was loudly encored.

We should have noticed above that Mme. Medori sang the grand aria of the ‘letter,’ which is usually left out here, but was restored last night by this artiste with great success.

Signor Bellini’s drinking song in the first act was well sung. . . . Tamaro sang with taste and fine execution of the aria ‘Il mio Tesoro.’. . . Mme. Strakosch made much of the comparatively insignificant role of Donna Elvira.  As performed last night, ‘Don Giovanni’ was a well merited success.”

11)
Review: New York Post, 21 November 1863, 2.

“[A] magnificent success. . . . Maretzek led the orchestra in person; the choruses were admirably rendered, and one of the largest and most fashionable audiences of the season attended.  The popularity of this opera always ensures the management a good house, but it is an exceptional case to find all the appointments so nearly perfect as they were last night.  Madame Medori was in fine voice and acted with her usual spirit, giving no indication of her little troubles with Maretzek, of which gossip has said a great deal lately.  Miss Kellogg, as Zerlina, was charming. . . . Strakosch was also excellent in her small share of the cast.  Biachi was a comic and efficient Leporello, and Mazzoleni [sic] was superb in every way.  But it remains to compliment Mr. Maretzek upon the delicate and satisfying work of his orchestra in the exquisite instrumentation of the opera.  ‘Don Giovanni’ trembles in every bar with soft and beautiful melodies, and it requires skilled performers to do justice to the score.  Mr. Maretzek led the instruments through these passages with a degree of artistic excellence which gave great zest to the enjoyment of the evening.”

COMMENT: Bellini, not Mazzoleni, sang Don Giovanni in this performance.

COMMENT: The “little troubles” between Medori and Maretzek are explained in the NYH review, 1863/11/21, p.6.

12)
Review: New-Yorker Staats-Zeitung und Herold, 21 November 1863, 8.

A sold out event, with an elegant audience.  Performance ran mostly smoothly.  The role of Donna Anna is considered to be “a cliff many singers have shipwrecked on.  Mme. Medori, however, sailed around it elegantly.  Her acting presented us with an ideal woman filled with female emotions and modesty.  In the grand recitative and the aria in D major, she sparkled with her vocal skills. She was able to carry the passion of the last mentioned aria perfectly.  Mme. Strakosch, who had been away from the stage of the Academy of Music for quite some time, performed the Elivira less brilliantly.  The character of the role is simply lost in her interpretation.  In addition, she cut some parts out.  Miss Kellogg as Zerlina was pleasant, yet it seems as if the part was not challenging enough for her.  Therefore, she added notes and frills to the music, which should have been avoided.  Bellini gave us a distinguished and elegant Don, but he was lacking in fire.  We like to compare the Leporello of Biachi with the one of Mr. Formes; Biachi clearly lives up to Formes’ performance of that part.  About the Masetto and Octavio we would prefer to not utter a word while the choir and orchestra deserve our full recognition.”

13)
Review: New-York Times, 22 November 1863, 8.

“Mr. Maretzek’s prosperity always begins at the wrong end of the season.  A dozen such houses as that which greeted ‘Don Giovanni’ on Friday night would be the making of his management, but alas! there are not a dozen nights remaining, and if there were, we are quite sure that the lieges would be found wanting. . . .

. . . Mme. Medori was an effective Donna Anna.  Mme. Strakosch sang acceptably as Donna Elvira.  Miss Kellogg received all the honors that generally fall to the lot of Zerlina.  She is a very pleasing representative of the character.  Signor Bellini was a gallant Don Giovanni; Signor Biachi very good as Leporello, and Signor Tamaro contributed a melodic mite—it was his all—to the festivities.  The orchestra, under the bâton of Mr. Maretzek, interpreted the instrumental score with effect.  The balance, it will be perceived, was strongly in favor of the performance.”

14)
Review: New-Yorker Staats-Zeitung und Herold, 22 November 1863, 4.

An excerpt from New York Revue.  “Bellini is a good “Don Juan” and especially sang the fatal ‘Champagnerlied’ with verve.  Biachi is an even better ‘Leporello.’  He has developed such a healthy, original and free comedic skill, which is hardly expected of the rather serious and dignified singer. His acting is as pleasant as his singing; he performed the “Catalog Aria” particularly beautifully and effectively.  The performance of Medori as ‘Donna Anna’ started out deeply moving in the first scene; we have heard, however, the ‘Nacht Arie’ performed in a more fiery and even stronger voice before.  Knowing that coloratura is not her strongest point, she wisely decided not to sing the ‘Brief Arie.’ The ‘Zerline’ portrayed by Miss Kellogg was not convincing.  She played the part of a shepherdess too lady-like, and the naivete seemed artificial.  Vocally, however, she sang the part so beautifully that the audience had her repeat both arias.”

15)
Article: New York Herald, 23 November 1863, 4.

“There has been a squabble between Maretzek and Madame Medori, as we have announced before, all about a domino, and, as far as we can ascertain, the matter is not yet settled.”

16)
Review: New-York Times, 23 November 1863, 4.
“The attendance on Friday night was larger than on any previous evening of the season.”
17)
Review: Courrier des États-Unis, 23 November 1863.

“Mozart’s sublime opera attracted a huge crowd, rarely seen at the opera.”