Maretzek Italian Opera: Il trovatore

“It is the first time that Maretzek’s company performs such a popular opera”.

“An immense audience assembled at the Academy of Music last evening to hear Verdi’s most popular opera, ‘Il Trovatore.’ We have so often noticed this chef d’œuvre, and the public are so familiar with its gems, it is useless for us to dwell upon them at present. We will state, however, that the performance was a great success.

            Mme. Medori, as Leonora, was admirable. She sang and acted the role with all her usual power and entrain, and was greatly applauded throughout the evening. She was in fine voice.

            Mlle. Sulzer, as Azuena [sic], sang with effect. She acts the role conscientiously, and though she lacks the power it requires she was much applauded.

            Signor Mazzoleni, as Manrico, was unusually successful. He was encored often, and met from the commencement of the opera until its end with the warmest applause.

            Bellini was in good voice, and sang and acted very satisfactorily.

            On Friday, by general request, ‘Ione’ will be given at the Academy of Music.

            On Saturday there will be a grand matinee.

            We would call the attention of the public to the fact that the period for subscribing expires on Friday next. During the coming season of twelve nights we are to have ‘Faust’ and ‘Lucrezia Borgia,’ given with all the eclat of European opera houses, at a price infinitely small in comparison. The public will, we hope, liberally patronise [sic] Maretzek in this undertaking.”

“The Academy of Music last evening was crowded. ‘Il Trovatore’ is an old favorite, and never fails at our metropolitan opera to draw a fine house, especially when given by artists so deservedly popular as those of the present Maretzek troupe. Medori’s Leonora was admirable, and Sulzer as Azucena both sung and acted with a pathos, spirit and good taste which elicited discriminating and frequent applause. Mazzoleni was in good voice, and his histrionic powers have rarely been put forth to better advantage. Belini sang with his usual power and fullness of vocalization, the difficult part of the Count di Lune, and his acting was less deficient in versatility and freedom. The mise en scene was exquisite, and the performance of the orchestra reflects credit on the conductor, Signor Nuno.”

     ". . . . The week was truly magnificent at the Irving Place hall. . . . The revival of Trovatore above all merits a special mention, for the very reason that the former interpretation of the work has left us with exceptional memories. Mme Medori, Mazzoleni and Bellini succeeded in almost making us forget them on Wednesday, and that's not mediocre praise for them. Except in the famous aria of the second act, to which he brought a new tradition that hadn't been completely appreciated, Bellini was an admirable Count di Luna both in singing and in acting. The Miserere itself assumed a power and a completely new effect in the hands of Mme Medori and Mazzoleni. Mlle Sulzer alone didn't have the tragic amplitude to which we were accustommed in the role of Azucena; but it's the fault of her physical powers, not that of her talent and intent, which deserve recognition."