Maretzek Italian Opera: Don Giovanni

Event Information

Academy of Music

Manager / Director:
Max Maretzek

Max Maretzek

Event Type:

Record Information


Last Updated:
29 August 2018

Performance Date(s) and Time(s)

09 Mar 1864, 8:00 PM

Performers and/or Works Performed

Participants:  Maretzek Italian Opera Company;  Amati Dubreuil (role: Masetto);  Clara Louise Kellogg (role: Zerlina);  Fernando [bass-baritone] Bellini (role: Don Giovanni);  Giuseppina Medori (role: Donna Anna);  Wilhelm [baritone] Müller (role: Commendatore);  Fanny Stockton (role: Donna Elvira);  Guglielmo Lotti (role: Don Ottavio);  Joseph Weinlich (role: Leoprello)
aka Dissoluto punito, Il; ossia Il Don Giovanni Libertine Punished, The; or Don Giovanni
Composer(s): Mozart
Text Author: da Ponte


Advertisement: Courrier des États-Unis, 08 March 1864.
Advertisement: New York Herald, 09 March 1864.
Announcement: New York Post, 09 March 1864, 2.

Announcement: New-York Times, 09 March 1864, 4.

Advertisement: New-York Times, 09 March 1864, 7.
Announcement: Courrier des États-Unis, 09 March 1864.

Advertisement: New-Yorker Staats-Zeitung und Herold, 09 March 1864.

Announcement: New-Yorker Staats-Zeitung und Herold, 09 March 1864, 8.

“‘Don Giovanni’ will be repeated today, in Maretzek’s penultimate performance of the season here. Next Monday he and his troupe will open a two-week season in Boston; he will commence his performances here during Easter Week.”

Review: New York Post, 10 March 1864, 2.

Very brief review.  “At the opera last night, ‘Don Giovanni’ was fairly given, Weinlich taking the place of Biachi as Leporello.”

Review: New-York Times, 10 March 1864, 4.

“There was a good attendance last night to witness Mozart’s masterpiece, ‘Don Giovanni’—a work which, apart from its intrinsic merits, has peculiar interest at the present time, when the town is fairly crazy on the subject of a totally different style of music. ‘Faust’ and ‘Don Giovanni’ are as wide asunder as the poles. The simple exquisite melodies of the latter seem to be imperishable, and are heartily appreciated as, and surely better understood, than the more reticent and vague fancies of Gounod. It argues well, however, that both of these works are the best favorites of our public. Mozart's opera is famous for restoring the fortunes of managers. It is always sure to draw a good house, and this too is the case with ‘Faust.’ May they long run side by side without touching or clashing! It were well for art if it could boast of more such productions.

The cast last evening was the same as heretofore, with a single exception. Signor Biachi was hoarse, and the rôle of Leporello had therefore to be intrusted to Herr Weinlich, whose experience is always valuable on such occasions. The usual morceaux received the customary honors, and all passed off pleasantly.”

Review: New-Yorker Staats-Zeitung und Herold, 10 March 1864, 8.

“The next-to-last evening performance by the Italian opera company featured Mozart’s ‘Don Giovanni,’ an opera one never tires of hearing. Again, it was well performed; Herr Weinlich replaced Biachi who was ill. Herr Weinlich performed well.”