Maretzek Italian Opera: Macbeth

“‘Macbeth’ will be given for the last time.”

“The ‘Macbeth’ of Verdi does not appear to be a popular opera here, as the superb representation of it at the Academy last night was but poorly attended. The performers, however, did their parts with as much vigor and effect as if before a crowded audience, and the listeners, fit though few, were heartily and enthusiastically appreciative. Medori and Bellini, in the leading characters, acted and sang admirably; and Lotti was so successful in the only air in his part as to receive an encore. The ballet and the vision scene were well managed, and the entire performance one which in any European city would have been considered first-class.”

“The opera of ‘Macbeth,’ although one of the best that Verdi has ever written, does not grow in favor with our public.  We were astonished to find a thoroughly old-fashioned house last night—a house that left the manager comfortably in the lurch, with nothing to trouble his mind except a serious loss.  The performance of the opera was in all respects admirable, as strangely enough it is apt to be on these otherwise melancholy occasions.  Mme. Medori was in grand voice, and sang and acted with the greatest spirit.  Signor Bellini was also in excellent trim, and Signor Lotti added very materially and agreeably to all the ensemble.”

“Whether it is possible to interest an audience speaking English as a vernacular in Shakespeare operatized, is an open question; but certain it is that the English poet is not affected by such hearers in a foreign lyrical guise. The opera of Macbeth, however, follows with reasonable closeness the original: there are points which of course are untranslateable; and there are, too, weird-like expressions which the Italian composer has not appreciated. The music has a large preponderance of forcible over feeble ideas, notwithstanding the difficulties of setting such a vast subject. The weakest part of the opera is the supernatural; and the weakest part of the supernatural is the music on the appearance of Banquo’s ghost—it is, however, superior to the deplorably bad stage arrangements representing that unlucky gentleman in a spiritual sense. It is difficult to make up the feast business without the brindisi: and if Lady Macbeth does sing a drinking song, it is a superior and melodious one. The music, after the murder of Duncan (who by the way is not seen at all, but inferred) has some exquisite portions, and the close of it is highly dramatic. The finale of the first act is very fine, vigorous composition [sic]. The somnambulist scene is dramatically managed. We do not think that justice has been done in relating sufficiently the merits of this composition here; or there would hardly have been so meager a house—the worst of the season. Madame Medori appeared to be laboring under some singular unsteadiness of voice—exhibiting itself constantly in tremolo effects. Except that it was a vigorous performance. The part of Macbeth by Bellini was a creditable piece of work.”
 

    “Brignoli’s prolonged malady and the sudden indisposition of Miss Kellogg came as vexations interruptions to Maretzeck’s [sic] fruitful success. Wednesday’s performance felt the effects of the recent mishaps on the public: the house was barely filled. The small number of listeners, however, didn’t exercise the least influence over the artists; on the contrary, as often happens in similar cases, Mme Medori and Bellini made it their business to surpass themselves and to prove to the absentees how wrong they were to miss that evening.”