Maretzek Italian Opera: Macbeth

Event Information

Venue(s):
Academy of Music

Manager / Director:
Max Maretzek

Conductor(s):
Jaime Nuno

Event Type:
Band, Opera

Record Information

Status:
Published

Last Updated:
29 August 2018

Performance Date(s) and Time(s)

21 Oct 1863, Evening

Program Details



Performers and/or Works Performed

1)
Composer(s): Verdi
Text Author: Piave
Participants:  Maretzek Italian Opera Company;  Corps de ballet, unidentified;  Guglielmo Lotti (role: Macduff);  Domenico Coletti (role: Banquo);  Fernando [bass-baritone] Bellini (role: Macbeth);  Giuseppina Medori (role: Lady Macbeth);  T. [tenor] Rubio (role: Malcom);  Wilhelm [baritone] Müller (role: The Doctor)

Citations

1)
Advertisement: New York Herald, 19 October 1863, 1.

2)
Announcement: New York Post, 19 October 1863.

3)
Announcement: New-York Times, 19 October 1863.

“On Wednesday, Verdi’s grand opera of ‘Macbeth’ will be produced for the first time in America, with Medori as Lady Macbeth—a role in which European artists regard her as being heard and seen to the greatest advantage.”

4)
Announcement: New York Herald, 20 October 1863.

5)
Announcement: New York Post, 20 October 1863.

6)
Advertisement: Courrier des États-Unis, 20 October 1863.
7)
Announcement: Courrier des États-Unis, 20 October 1863.

New costumes and sets.

8)
Advertisement: New-Yorker Staats-Zeitung und Herold, 20 October 1863.
9)
Announcement: New York Herald, 21 October 1863, 7.

10)
Announcement: New-York Times, 21 October 1863, 4.

“Verdi’s celebrated dramatic opera of ‘Macbeth’ will be produced here tonight without fail. The role of the heroine is said to be one of Madame Medori’s best efforts, and it happens curiously enough that the public will have an opportunity of comparing it to-morrow night with Charlotte Cushman’s fine impersonation of the part. This will be a week of Macbeth’s and the Academy of Music monopolizes them all. Signor Bellini has entirely recovered from his recent indisposition, and will sustain his celebrated part of Macbeth.”

11)
Advertisement: New-York Times, 21 October 1863, 9.

“Unusual interest probably attaches to the representation of this celebrated Opera, founded on Shakespeare’s tragedy. If the sublime creations of the great poet are to be interpreted in lyric form, it is evident that the illustrious Verdi is best qualified for such tasks. Without going into details concerning the characteristic beauties and peculiarities of this Opera, the Director confidently submits the work to the judgment of an enlightened public. . . . [W]ith new costumes, appointments, military band . . . fairies, witches, soldiers, assassins, attendants.”

12)
Review: New York Herald, 22 October 1863.

“A very large and fashionable audience filled the Academy last evening, to hear Verdi’s ‘Macbeth.’ The opera was, comparatively speaking, new to our public, as it is years since it was sung here. As rendered last evening it was a great success. The mise en scene, choruses and orchestra were very effective, and the whole performance pleasing to a degree.

In the first act Mme. Medori—Lady Macbeth—sang an aria which was much applauded. It is a most characteristic piece of music. Its melody is somewhat wild, but it rouses the audience to great applause, as it expresses so wonderfully the feelings of revenge which prompt Lady Macbeth. The duet between Medori and Bellini (Macbeth) after the murder of Duncan was admirably rendered and was loudly applauded. Here the acting of Medori was really most admirable. The finale of this act is certainly in Verdi’s most successful vein.

In the second act, during the banquet scene, Mme. Medori sang with the greatest success a brindisi or drinking song, which was received with immense applause. This is one of the happiest melodies we have heard, and must become popular. The finale of this act was also very grand.

In the third act the witch chorus was sung with great spirit and ensemble, and was loudly applauded. The music accompanying the appearance of the seven kings reminded us much of Meyerbeer’s method in the ‘Robert le Diable.’ The scene was most effective.

In the fourth act Mme. Medori achieved a triumph in the scene of somnambulism. She acted here with an energy and dramatic effect seldom surpassed. She was really grand, and was applauded continuously.

Signor Bellini, who was fortunately in voice, sang and acted with great success, as did the other artists cast in the opera.”

13)
Review: New York Post, 22 October 1863, 2.

“Whatever musical injustice Verdi may be supposed to have done to other dramas of the ‘Bard of Avon,’ the most fastidious Shakespearean enthusiast must make an exception in favor of ‘Macbeth.’ In anticipation of some such triumphant result, the Academy of Music was crowded last night by the most brilliant and fashionable audience of the season. In Havana this opera, when last represented by the Maretzek troupe, had a run of seventeen nights out of sixty-nine. The furore of inst [sic] evening was a tribute not only the genius of the composer, but to the extraordinary efforts of the artists engaged. The cast was a very fine one, the severest rôles devolving of course on Medori and Bellini. The latter sang as usual, with a fullness of vocalization and an intensity, breadth and pathos of expression which, though somewhat unequal and fitful, had a very fine effect. His acting was in some points scarcely characterized by the exquisite taste by which Bellini usually distinguishes himself. The chief interest, however, was attracted to Medori, who has rarely appeared to greater advantage. Her execution of the arias Vieni! t’affretta and Or tutti sorgete, near the commencement of the opera, took the audience by storm, and the interest never flagged for a moment till its culmination in the grand and brilliantly executed finale of the fourth act. Mme. Medori was honored with an encore in the Brindisi, as was also Signor Lotti in the melting and pathetic aria O figli, O figli miei! The chorus and the orchestra did admirably. A ballet corps was gracefully introduced in the third act.”

14)
Review: New-York Times, 22 October 1863, 4.

Academy of Music.—The revival of Verdi’s opera of ‘Macbeth’ last night must be recorded as the best success, so far, of Mr. Maretzek’s season. Intrinsically there is no interest attached to any Italian version of Shakespeare’s plays, and least of all to those that have been prepared for the operatic stage. A fine soliloquy has not yet been superseded by a grand scena; indeed, the mere touching on the original situations of the great dramatist is attended—in the minds of the Anglo-Saxons—with a certain sense of the ridiculous. For reasons such as these the Shakesperian [sic] repertoire of the opera has never been a favorite with the public of America or of England. ‘Othello,’ ‘Macbeth,’ ‘Romeo and Juliet,’ ‘The Merry Wives of Windsor,’ are all works of undoubted merit, yet how rarely do we find them on our bills? In the selection of ‘Macbeth’ as a subject, Verdi has been more fortunate than any of his predecessors. The characters in it are easily reduced to the required number for the musical stage, while the strength of the plot and the superb directness of the action can hardly be spoilt even by a librettist. The composer has seized his opportunity with avidity, and has accomplished a work of very great emotional interest and still greater musical merit. What situations are retained of the original work are manipulated with all the dramatic skill for which Verdi is remarkable, and are presented by the artist of Mr. Maretzek’s troupe with great gusto. We are disposed to agree with the manager that if the creations of the poet are ever to be interpreted in lyric form, it is probable that Verdi is the composer who will accomplish the task in the most powerful way. There are combinations in ‘Macbeth’ and flashes of feeling that are really worthy of the theme. Greater praise can hardly be bestowed, but it is no exaggeration to say that the work contains some of the happiest ideas that have ever come from the prolific brain of the composer. There is a youthful freshness and vigor in many of the numbers that we shall look for in vain in more recent and better known works. Even in the treatment of the orchestra and chorus there is striking originality. The Witches’ music throughout is singularly fitful and weird; whilst the instrumentation in the last act is almost exceptional in its suggestiveness and propriety.

The cast last night was especially strong in the two leading rôles. Madame Medori was in rare voice and threw herself completely into the spirit of the part. We have rarely heard her to such advantage and it is but just to add that her acting was fully up to the very high standard of her vocal performance. Her reception was most enthusiastic. She was recalled several times during the evening, and in the well known Brindisi of the second act, received an encore. Signor Bellini supported Mad. Medori in the best possible way. He too was in excellent voice, and proved to every one how much we lose when he is not in that desirable condition. Much of the genuine furore of the evening was to be ascribed to this gentleman’s fine voice and manly style. We do not often have an opportunity to praise Signor Bellini, but in this opera it is not easy to exaggerate his merit. Signor Lotti, who will be remembered as the primo tenore of the German opera, made his first appearance here as Macduff. His agreeable tenor was heard to advantage in the various concerted pieces. Signor Coletti and Signor Rubio completed the distribution.

The opera was received with so much fervor that it is destined, we think, to overcome the old prejudice against operatic versions of Shakespeare’s plays. There are few operas on the Italian stage that can compare with it in freshness of style and positive dramatic intensity. It is, in fact, one of Verdi’s best works, and our public owes a debt of gratitude to Mr. Maretzek for reviving it in so complete and satisfactory manner. We shall be greatly mistaken if it does not speedily assume a leading position in his repertoire.”

15)
Review: Courrier des États-Unis, 22 October 1863, 1.

 “Almost from the first notes, the extent of Macbeth strikes the listener as one of the most powerful characterizations that he has heard. The drama seems to have taken possession of the composer, to the point of hurling him abruptly beyond his ordinary paths. A trembling and striking rhythm dominates almost from one end to the other and conveys, with astonishing vigor, the dark passions and violent emotions amidst which the action unfolds. As dramatic effect, as force of expression and as fruitfulness of ideas it is without contradiction one of Verdi’s most truly inspired compositions.

Three pieces stand out from the whole with particular relief: the scene of the assassination in the first act, the apparition of Banquo in the second act and the sleepwalking scene in the last act. There are as many masterpieces of tragic feeling. In the tableau of the banquet, the performance is heightened by the contrast between the festive music, which breaks out here and there in joyful bursts, and Macbeth’s terror. Beauties of the first order abound elsewhere at every turn.

As you might expect, this thrilling score has found in Mme Medori an interpreter at her peak. As beautiful as we have found her in other roles, she has found a way to surpass herself in this one. Bellini has likewise been a worthy partner and legitimately shared in the many bows insisted upon by the audience . . . .

[T]he music of Macbeth appeared to produce an impression at one lively and profound:

The scenery, without being a marvel, is sufficiently sophisticated and suitable. The phantasmagory of the third act, full of evocations and apparitions, proceeded as desired. The ballet which is inserted there, directed by M. Grossi, produces a very graceful effect.”

16)
Review: New-Yorker Staats-Zeitung und Herold, 22 October 1863, 8.

Well attended event. Most of the review is a general elaboration on why Verdi’s operas are currently dominating American and European opera houses, with comparisons to other composers, an analysis of his music, etc.

 

17)
Review: New York Post, 23 October 1863.

Brief; part of announcement for other operas. “[Macbeth] was given on Wednesday with such fervid power and such extraordinary success.”

18)
Review: New-York Times, 26 October 1863, 8.

“No one was sick—not even Signor Bellini. This gentleman in fact came out particularly strong in ‘Macbeth,’ and all his sins of omission and commission were forgiven unto him in consequence thereof. He has a superb voice, and is a fair actor. There is probably not another baritone in the country who could play the leading rôle so well. It is to this cause, we apprehend, that the long shelving of the opera is to be ascribed. The music is agreeable, and much superior to the ordinary run of the Verdi tap. Madame Medori sings and acts with great fire. Signor Lotti obtained a success, and in the last act received an encore for the romanza. ‘Macbeth’ is the success of the season.”

19)
Review: Courrier des États-Unis, 26 October 1863.

“New-York is becoming a musical Gargantua. Five operas and as many concerts; that is the abundant menu that has just been served up in one week, and that has been gulped down without flinching, as if it were nothing . . . .

Macbeth was naturally the showpiece and the pièce de résistance in this festival in ten acts. It had going for itself novelty, that is to say the ingredient that puts the most banal up to the most outstanding things into relief. Verdi’s score has all the possible reasons to be classified in this last category. Among the maestro’s works that are in vogue, it’s incontestably one of those where he has known the best and the most frequently how to find appropriate inspiration, where he has arrived at dramatic effect with the least effort. He is superior to himself, in that he has known how to get rid of the obvious faults of his usual style. One feels that he was penetrated by his subject, and the audience in turn was penetrated almost from the first chords. There is scarcely anything in the maestro’s entire repertory, except Trovatore, that exerts this type of electric influence on the listener, that establishes a commonality of sentiment between the composer and his audience, and that is the most authentic, enviable success.

The first act of Macbeth is, in my judgment, one of the most beautiful things that contemporary music has produced. The entire murder scene, notably, deserves to be classified among the masterpieces of harmonic realism. Rarely is musical drama elevated to such power, and this result is all the more remarkable here as its grandeur contrasts with the moderation of the means that are employed. It is the same with the sleepwalking scene in the last act. The banquet where Banquo’s ghost appears and the two scenes with the witches carry the same stamp of spontaneous and vigorous inspiration. From a completely different point of view, there are two charming pieces to note: the brindisi at the banquet and the tenor aria that opens the final act.

The drama is acted admirably by Mme Medori and M. Bellini. I have never yet seen, in the English theater or elsewhere, the dark couple created by Shakespeare personified in such a comprehensive, affecting way. Both have perceived the essence of their roles with a profound comprehension of the poet’s meaning and a great feeling for his nuances. That shouldn’t surprise you coming from the eminent tragedienne who has created the Norma that we know, but M. Bellini hadn’t foreshadowed until now the really superior talent that he deployed Wednesday. As for the singing, the evening was no less outstanding, above all in the first part. At the end, there were some weaknesses and irregularities that made blots. The voices, forced beyond bounds in the finale of the second act, didn’t recover the tone and security that they had lost. That’s a lesson that should put the artists more and more on guard against the troublesome ease with which they let themselves get carried away past appropriate limits. The [vocal] organ, once thrown out of equilibrium, recovers with difficulty.

Unhappily, the audience that ought to deter them from this tendency is the first to push them toward it. This same Wednesday evening performance furnished a striking example of it. Whereas the finale of which I just spoke was applauded frantically, despite the faults that had marked it, the sleepwalking scene exquisitely detailed by Mme Medori concluded with an incomprehensible silence. It was a double misconception, which seemed to prove right those who claim that the New York audience prefers noise to singing.

The evidence, however, that this assertion isn’t absolutely true and that one shouldn’t always be too proud of the nervous effect produced by pieces in the style of a great din, it’s the success that was obtained a moment after the tenor aria sung by an artist who, until then, had been unknown by almost the entire audience. The honors of an encore which were bestowed upon M. Lotti by the entire hall, even though he modestly wished to avoid them, show that melody never loses its rights. Moreover, isn’t it owing to [melody] that Brignoli remained the tenor par excellence, in spite of all the competition and the reproaches that were made, with more or less of a foundation, that he lacked certain other qualities? He alone remained stubbornly faithful to singing, and he alone survived among us even during the vogue for more clamorous [performers], of whom not even one has withstood the proof of time. His example forms the counterpart of the fact that I established earlier, and it is permitted to conclude from this that artists are after all masters that do not surrender blindly to the vicissitudes of public taste. It suffices for them to have enough courage to hold on firmly to what is right and true, at risk of being sometimes a bit less applauded. It is the need to evoke bravos--no matter what—that ends up by losing them where they had believed they would find success.

I am dwelling on this question because it is on a track to become the vital point of our opera. The abuse of Verdi, joined to thoughtless ovations that a certain portion of the hall always uses in the service of great crashes of voice, is a real danger. Maretzek’s company risks compromising its future in New York in misjudging the conditions that make for lasting success. Composed of strong chests and well-endowed singers, it came to us exactly at a period when we had been deprived of artists of that type for a long time. It had, as an assistant to the triumph that it accumulated, the power of contrast, which is always so decisive. But this power only lasts for a time, at the end of which the public gradually gets tired of the excess of noise that had fascinated it at first. It proves then the instinctive need for a return to melody and to subtle coloring. That reaction begins today to be produced, and they commit a grave mistake in not taking it into account.

The infinite pleasure with which one heard Martha on Friday is a symptom not an equivocation. That light, flowing music, without uproar, visibly produced the effect of a fresh shower following a long drought. The audience seemed to relax after an overlong period of intensity, and the artists had the easy task of charming it. Perhaps one will object that the contrast here came from the score itself and fom the genre of the piece. The observation is correct only in that Verdi's project doesn't lend itself to producing the same charming impressions as Flotow's; but the director should stop the artists from declamatory singing and loud yells; now, the tendancy that I attack at this moment consists precisely of exaggerating and making more obvious the natural defect of Verdi, and not knowing how to moderate it.

This long general digression doesn't take anythig away from the success of Macbeth and I testify again that nothing was lacking in it. Such a completely good  first performance is even without prec edent in New York, where these evenings are ordinarily mere general rehearsals. This time, nothing was thrown into the shade and never has opera entered into the repertory of the Academy of Music under better auspices. Mme Medori reckoned up a splendid creation again; Bellini reaffirmed his position that had been a bit compromised on the part of the public at the beginning of the season; and M. Lotti was revealed as a very good and very desirable acquisition for the company. The production, for its part, lived up to expectations. In spite of its complexity, the production left little to be desired, and we must compliment the director, M. Dubreul, for the perfection with which it progressed. We haven't spoiled anything by this account and there is only more praise." 

 

 

20)
Review: New-York Times, 27 October 1863, 8.

“Two unquestionable successes were achieved last week. ‘Martha,’ with Miss Kellogg, and ‘Macbeth’ with Mme. Medori.”

21)
Review: Musical Review and World, 31 October 1863, 267.

“‘Macbeth,’ music by Verdi, was well received by two or three large audiences, at the Academy of Music. The maestro composed this work in 1847, at a time when his inventive powers not only, but also his ambition to do as well as he could, were not impaired. The opera fully bears testimony to this remark. As a dramatic illustration of the libretto, it ranks as high as any he has written. Of course, the means cannot be always defended from a truly artistic point of view. That vulgarity of tone, which so often strikes the asthetical [sic] feelings of a cultivated musician, in the music of Verdi, is not entirely dispensed with in ‘Macbeth;’ but the music is, on the whole, truthful, and treated with more care, than we find in his later works. Verdi’s musical assertions are, undoubtedly, very dramatic, and always to the point although they are uttered with a considerable amount of hard swearing, He [sic] always reminds us of a man who cannot describe or say anything without using all kinds of oaths. This is, of course, highly palatable to a certain class of people, and may be even at times quite apropos, but on the whole, it is, in music, as little enjoyable as in society. Verdi, in ‘Macbeth,’ seems to have laid the chief stress on the choruses and essembles [sic], and also on the characterizing of ‘Macbeth’ and his ‘Lady.’ We must say, that he has illustrated the two characters quite successfully (of course, always considered from the point of view taken by Italian composers). They are sketched roughly, but give us an idea of their natures, which can be reconciled to the conceptions we have formed through Shakespeare, and they really attempt, not in vain, to interest us.

Signora Medori and Signor Bellini were the representatives of two principal figures in the grand drama, and, on the whole, created a favorable impression. If Signora Medori would scream a little less, and sing a little more, and if Signor Bellini could get rid of those hollow-sounding high tones of his voice, which some people, strange to say insist upon calling ‘hoarseness,’ the effect would have been still better.

A very favorable impression was created by Signor Lotti (Macduff), with his aria in the fourth act of the opera. The young tenor has evidently made good progress. His breathing and phrasing is better, and if he can only manage to swell the tones more (which is entirely the result of method), he will be a very acceptable tenor edi grazia [sic]. His personification of ‘Lionel,’ in ‘Martha,’ was a great success with the public. As to Miss Louise Kellogg, in the soprano part, we hardly think a more artistic and refined performance can be enjoyed anywhere. What a pity that she is not gifted with a little more voice!

The basso part was given to Signor Biachi, and he did better with it than with any other role he has performed here. He had a very legitimate success.”