Maretzek Italian Opera: Lucia di Lammermoor
Event Information
Venue(s):
Academy of Music
Manager / Director:
Max Maretzek
Conductor(s):
Auguste Predigam
Event Type:
Opera
Record Information
Status:
Published
Last Updated:
26 November 2012
Performance Date(s) and Time(s)
07 Oct 1864, 8:00 PMProgram Details
Fourth subscription night
Performers and/or Works Performed
1)
aka Lucy of Lammermoor
Composer(s): Donizetti
Participants: Maretzek Italian Opera Company; Bernardo Massimiliani (role: Edgardo); Laura Drake Harris (role: Lucia); Joseph Weinlich; Fernando [bass-baritone] Bellini (role: Ashton)
Citations
4)
“The Opera. Last evening’s performance of ‘Lucia’ at the Academy of Music took place before a full and genial audience. A certain buzz of disappointment followed the announcement that the new tenor would not appear as promised. Miss Harris, a carefully-trained young claimant for vocal distinction, was the Lucia. Her voice is as yet hardly full or mature enough for the leading position she is called upon to assume; but, excepting this and her deficient action, which must also be set down to the score of her youth and inexperience, her performance was decidedly creditable to her. The Edgardo of Lotti was respectable, but not up to the standard of Donizetti’s creation. A little more earnestness and fire in his acting would add greatly to the charm of his vocalization. Signor Bellini, as usual, was excellent, and left nothing incomplete in the character of Ashton. His vocal fidelity to every part he takes provokes enthusiasm, and should serve as an example to other artists.”
5)
“Amusements. ACADEMY OF MUSIC.—‘Lucia di Lammermoor’ was given here last night to a very good and fashionable house. Miss LAURA HARRIS was the prima donna of the occasion, and sang neatly and prettily. The lady is very young, and her voice partakes of the slightness of youth; it has, however, a good quality, is manageable, and in the upper part pleasing. Her performance of the rôle was in all essential respects the same as last season, and we take pleasure in again referring to it as a most promising effort. Signor LOTTI was the Edgardo, and gave the music with much sweetness. Signor BELLINI sang with remarkable spirit, although evidently laboring under a severe cold.”
6)
“Amusements. The first week of Mr. MARETZEK’S season of Italian opera came to a successful close on Friday night, when, as we have already stated, DONIZETTI’S opera of ‘Lucia di Lammermoor’ was performed. The honors of the evening were equally divided between Miss HARRIS, in the mad scene, and Signor LOTTI, in the Fra poco. We ought not, however, to omit reference to the orchestra, which, under the direction of M. PREDIGAM, was unusually good. Both the orchestra and chorus have this year been selected from new material, and it is evident that they bring to the discharge of their duties a degree of enthusiasm which could not have been expected from the old hands. They play and sing with some attention to the emotional signification of the music, and not as a matter of routine. We have been particularly pleased with the female voices of the chorus. They display a very agreeable degree of freshness and strength. In the orchestra, too, we have been struck with the clearness and delicacy of the violin passages. The ensembles, indeed, are now very well rendered. Mr. MARETZEK has worked hard for this long-desired result. When the opportunity occurred for entirely reconstructing the two masses of his musical forces, he was not slow to seize it, and every one will be pleased with the consequences. It is proper to add that both orchestra and chorus are stronger than last season, and that M. PREDIGAM is unquestionably one of the best conductors in the country.”
7)
Reviews the first week of Italian opera in general (excerpts of it appear in other days in the chronology). Harris’s voice is deemed “pure and just,” but rather weak and lacking power (volume); her voice is lost in the ensembles. She is advised to take time studying (she is very young). The reviewer mocks the public for crowning her with flowers, because “the true public does not do that with Carozzi-Zucchi” (who is much better). In general, however, the reviewer predicts that she will eventually shine brightly as both pianist and singer.
8)
“The opera is growing gradually in favor; but it cannot be denied that the opening was anything but encouraging. Max Maretzek, with his usual flourish, announced several new and prime people, but whether from chills and fever, or from stage fight, they all seem to have had an attack of the shakes at the commencement of their metropolitan career, and made a somewhat poor display. They are doing a trifle better now, but the Italian opera is still, in the opinion of many, inferior to the German troupe which preceded them. Let us give the new people a dose or two of quinine.”