Maretzek Italian Opera: Un ballo in maschera

Event Information

Venue(s):
Academy of Music

Manager / Director:
Max Maretzek

Conductor(s):
Jaime Nuno

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
29 August 2018

Performance Date(s) and Time(s)

15 Feb 1864, 8:00 PM

Performers and/or Works Performed

1)
aka A Masked ball; Masked ball
Composer(s): Verdi
Text Author: Somma
Participants:  Maretzek Italian Opera Company;  Amati Dubreuil (role: Samuel);  Antonietta Brignoli-Ortolani (role: Oscar);  Fernando [bass-baritone] Bellini (role: Reinhart);  Giuseppina Medori (role: Amelia);  Henrietta Sulzer (role: Ulrica);  Francesco Mazzoleni (role: Riccardo);  Signor Massia (role: Sylvan);  Wilhelm [baritone] Müller (role: Tom);  J. [tenor] Reichardt (role: A judge)

Citations

1)
Announcement: New York Post, 12 February 1864.

2)
Announcement: New York Post, 13 February 1864.

3)
Announcement: New York Herald, 13 February 1864.

4)
Advertisement: New-York Times, 14 February 1864, 7.
Cast.
5)
Advertisement: New-Yorker Staats-Zeitung und Herold, 14 February 1864.

6)
Announcement: New York Herald, 14 February 1864.

7)
Advertisement: New York Herald, 15 February 1864.

8)
Announcement: New York Post, 15 February 1864, 2.

9)
Announcement: New-York Times, 15 February 1864, 4.

10)
Announcement: Courrier des États-Unis, 15 February 1864.

11)
Advertisement: Courrier des États-Unis, 15 February 1864.

12)
Review: Courrier des États-Unis, 15 February 1864.
The company has had a greater success this week than last, if that is possible.  The hall has been full every night.  The artists contribute to the success with their energy and care.  The season is one of the most successful that the city has ever seen.  It compensates for the vicissitudes of fortune that Maretzek has endured.  Brignoli’s debut had to be postponed due to an indisposition suffered upon his return from the tour with Gottschalk.
13)
Announcement: New-York Daily Tribune, 15 February 1864.

“Tonight Un Ballo in Maschera, by Verdi, which though on an indifferent plot, rendered ridiculous by its association with Boston Massachusetts in the time of the anti-artistic Puritans, has some of the inspirations of the real genius of Italy. In this opera the versatility of Signor Mazzoleni especially shines out.”

14)
Review: New York Herald, 16 February 1864.

“Mr. Maretzek varied his programme [sic] last evening by producing Verdi’s popular opera the Ballo in Maschera.  There was a fashionable house, but not a Faust audience, and, we hope that this charming and most attractive work may be given again as soon as possible. Gounod is decidedly in the ascendant at present, Faust being the sensation of this operatic season.

            The Ballo was admirably sung.  Mme. Medori, Signors Mazzoleni and Bellini, gave the stirring music with great spirit, and were all much applauded. In the second act Mazzoleni sung the barcarole admirably. It was enthusiastically applauded and an encore insisted upon. In the rold of the Count this artist has unusual opportunity to display his dramatic powers, and he makes the most of them. In the third act, the scene between Amelia (Mme. Medori) and Reinhart (Bellini), where the husband upbraids his supposed guilty wife, both artists sang and acted admirably.”

15)
Review: New York Post, 16 February 1864, 2.

“The Opera last night was fairly attended, and the performance of ‘Un Ballo’ was admirable in every respect.”

16)
Review: New-York Times, 16 February 1864, 4.

“The performance was unusually spirited, and was received with great satisfaction by a fashionable and attentive audience.  The male members of the company have the best opportunity in this work, and they were especially good last night. We doubt if Signor Bellini, the baritone, has ever been heard to better advantage.  The fire and energy, too, of Signor Mazzoleni, created a perfect furore.  The barcarolle of the second act had, of course, to be repeated; many numbers, indeed enjoyed that distinction.  Mme. Medori did not seem to be in her usual voice, but seized the dramatic opportunities of the role with all her consummate power and tact.  Mlle. Sulzer was, as usual, excellent as Ulrica, and Mme. Ortolani-Brignoli sang the page’s music very charmingly.  The performance, in all vocal respects, was thoroughly acceptable.  The orchestra, however, under Signor Nuno, did not quite realize the full effect of the score, owing, of course, to deficient rehearsals.”