Maretzek Italian Opera: Jone

Event Information

Academy of Music

Manager / Director:
Max Maretzek

Jaime Nuno

Event Type:

Record Information


Last Updated:
29 August 2018

Performance Date(s) and Time(s)

13 Feb 1864, Evening

Program Details

Dubreuil replaced Biachi, who was indisposed.

Performers and/or Works Performed

aka Ultimo giorno di Pompei ; Last Days of Pompeii; Ione
Composer(s): Petrella
Text Author: Peruzzini
Participants:  Maretzek Italian Opera Company;  Francesco Mazzoleni (role: Glauco);  Annie Milner (role: Dirce);  Wilhelm [baritone] Müller (role: Clodio);  J. [tenor] Reichardt (role: Salustio);  Amati Dubreuil (role: Burbo);  Fernando [bass-baritone] Bellini (role: Arbaces);  Giuseppina Medori (role: Jone);  Henrietta Sulzer (role: Nydia)


Announcement: New York Post, 09 February 1864.

Advertisement: Courrier des États-Unis, 11 February 1864.

Announcement: New-York Daily Tribune, 11 February 1864.

The Opera.—The Director at the Academy announces that in consequence of the great demand for repetitions of Faust and Ione, the former will be presented at the Academy on Friday evening, and the latter on Saturday evening. These will be their last representations, as arrangements have been made for some very interesting debuts and the revival of other favorite operas.”

Advertisement: New York Herald, 12 February 1864.

Announcement: New-York Times, 12 February 1864, 4.

Advertisement: Courrier des États-Unis, 12 February 1864.

Announcement: New York Post, 12 February 1864.
Jone on Sat evening, “to the exclusion of the usual matinee”
Announcement: New York Post, 13 February 1864, 2.

Announcement: New-York Times, 13 February 1864, 4.

Advertisement: New-York Times, 13 February 1864, 7.
Advertisement: New-Yorker Staats-Zeitung und Herold, 13 February 1864.

Announcement: Courrier des États-Unis, 13 February 1864.
Petrella’s opera will probably not be performed again this season.
Announcement: New York Herald, 13 February 1864.

Review: New York Herald, 14 February 1864, 4.

“There was a most fashionable audience at the Academy of Music last evening, fully proving the fact that the habitues of the Opera take no account of off nights, but only ask to have provided for them attractive performances. Ione is an opera which particularly suits an American public; there is so much spirit, so much force and entrain in the music. We have so often noticed this admirable opera that we need do no more here than mention the great success which attended last night’s performance.

Mme. Medori, as Ione, sang with her accustomed ability and was much applauded. Sulzer, as Nydia, was also very satisfactory. We would warn this artist against a tendency to use the tremolo.  Her voice is pure and sufficiently powerful, and should avoid any but a legitimate use of it.

Signor Mazzoleni was in splendid voice, and sang and acted Glauco to perfection. This artist appears to great advantage in this role. He had admirably conceived the part, and in the scene of delirium exhibits dramatic power of the highest order. At intervals throughout the performance Signor Mazzoleni roused the audience to enthusiastic applause. Bellini was also very successful as the High Priest. He was in fine voice, and received well merited plaudits. Owing to the illness of Signor Biachi, Dubreuil undertook the part of Burbo, and he acquitted himself creditably of this arduous task. The performance was certainly a great success, the magnificent concerted music being admirably sung. The mise en scene was rich, and the orchestra played, under the careful direction of Signor Nuno, with great ensemble and effect. We do not doubt that Maretzek will find it to his interest to reproduce Ione very soon, spite of the fact that favorite operas are to be revived.”

Review: New York Post, 15 February 1864, 2.

“The Opera was well attended on Saturday evening, and ‘Ione,’ as hitherto, brought out the full capabilities of the performers. Mazzoleni in his Brindisi and delirium scene, as usual, awakened the liveliest enthusiasm, while Medori, Sulzer and Bellini sang admirably. As Biachi was hoarse, his part of Burbo was satisfactorily taken by Dubreuil.”

Review: New-York Daily Tribune, 15 February 1864.

Part of review of multiple performances. “The Academy of Music has enjoyed an excellent succession of houses during the past week. [Norma was performed and is a “very superior opera.”] The other two operas being destitute of genius—Faust, and The Last Days of Pompeii,—the singers have uphill work to excite applause…in the former opera (Faust) they got no applause worth noting, so exceedingly feeble are the melodies or the attempts at melodies vouchsafed to the leading artists.”