Maretzek Italian Opera: Dom Sébastien, roi de Portugal

Event Information

Academy of Music

Manager / Director:
Max Maretzek

Carl Bergmann

Event Type:

Record Information


Last Updated:
19 February 2019

Performance Date(s) and Time(s)

09 Dec 1864, 8:00 PM

Program Details

Donizeitti: Dom Sébastien includes an incidental ballet [Ballet divertissement, unidentified] (Ernestine and Auriol).

Performers and/or Works Performed

aka Dom Sebastian, King of Portugal; Dom Sebastien; Don Sebastian
Composer(s): Donizetti
Text Author: Scribe
Participants:  Maretzek Italian Opera Company;  Bernardo Massimiliani (role: Sebastian);  Mlle. Ernestine;  Mlle. [dancer] Auriol;  Augustino Susini (role: Giovanni);  Domenico Lorini (role: Abadialos);  Fernando [bass-baritone] Bellini (role: Camoens);  Carlotta Carozzi-Zucchi (role: Zaida)
aka Grand ballet divertissement, unidentified


Announcement: New York Post, 07 December 1864.

Announcement: New York Herald, 09 December 1864, 4.

      “Amusements This Evening.”

Advertisement: New York Herald, 09 December 1864, 7.

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

Advertisement: New-York Times, 09 December 1864, 7.

Announcement: Courrier des États-Unis, 09 December 1864.

      “Tonight is Don Sébastien, which is now more popular than Faust.”

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

Review: New York Herald, 10 December 1864, 5.

      Brief review.  “The house was well filled, the audience as usual combining the elements—always present at the Academy on grand opera nights—of fashion and critical judgment.  The lyric gems of the opera were received with a cordial applause.”

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

      Very brief.  “Donizetti’s opera of ‘Don Sebastian’ was most successfully repeated here last evening.  The artistes were all in fine voice, and the performance in every respect was admirable.”

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

“Last evening ‘Don [sic] Sebastian’ was presented to a full house for the sixth time. Only if one becomes more closely acquainted with the opera, that is, has heard it often, does one discover all its many beautiful parts. Of the performers, [o]nly Carozzi-Zucchi and Signor Bellini are worthy of mention, with outstanding excellence in voice and acting. They have proven to be first-class performers. About Massimiliani, we are unfortunately not in a position to say the same: he is as excellent a singer in most of the numbers of his difficult part as he is indifferent as an actor. He does not participate in the ensembles unless he has to sing in the scene. This part [Sebastian] gives him a wonderful opportunity to show off his acting skills, but he doesn’t take advantage of it and, thus, leaves the audience cold. Susini would fit the part of the ‘Grand Inquisitor’ well if his voice were in good condition. His acting and interpretation of the part show that he is a true artist. Stage set, decorations, ballet, chorus and orchestra leave nothing to wish for.”

Review: Courrier des États-Unis, 12 December 1864.

"Mme Carozzi-Zucchi showed herself on Friday superior to what she had been before. She owes her success to the execution of the beautiful septet in the fourth act."