Nixon Italian Opera: Lucia di Lammermoor
Event Information
Venue(s):
Academy of Music
Proprietor / Lessee:
James M. Nixon
Manager / Director:
James M. Nixon
Conductor(s):
Emanuele Muzio
Price: $1; $1.50 reserved
Event Type:
Opera
Record Information
Status:
Published
Last Updated:
20 May 2013
Performance Date(s) and Time(s)
26 Sep 1862, EveningProgram Details
"Great uprising galop" (between 2nd and 3rd acts)
First appearance of Brignoli.
Dubreuil listed as "Ravenswold" in AD: NYT 09/25/1862.
First appearance of Brignoli.
Dubreuil listed as "Ravenswold" in AD: NYT 09/25/1862.
Performers and/or Works Performed
2)
aka Lucy of Lammermoor
Composer(s): Donizetti
Participants: Achille Ardavani (role: Enrico Ashton); Carlotta Patti (role: Lucia); Amati Dubreuil; Pasquale Brignoli (role: Edgardo)
3)
aka Uprising, The - galop;
Great uprising galop;
Grand uprising gallop
Composer(s): Muzio
Citations
1)
“[On] Friday we are to have Signor Brignoli in an opera as yet unnamed.”
3)
“[We] are to listen to Miss Patti in the much more passionate and trying character of Lucia di Lammermoor.”
5)
“First appearance by Signor Brignoli . . . This will be Miss Patti’s last operatic character for the present, as long engagements elsewhere will prevent her appearance in New York for a considerable time. . . . Between first and second acts the Great Uprising Gallop by Sig. Muzio.”
7)
The performance of Lucia, announced for Wednesday, will take place today. Brignoli and Ardavani fill the principal roles with Mlle Carlotta Patti.
8)
“The charming young prima donna made her happiest success in ‘Lucia’ last night. In the opening air she exhibited her usual facility of vocalization, embellishing the cabaletta with some delicious variations. The second act did not go off very effectively, but in the third the wonderful vocalization of Miss Patti in the mad scene aroused an unusual demonstration of applause. In the midst of this scene some ignorant person sent up a huge, clumsy wreath of flowers, which an officious member of the chorus conveyed to the prima donna. Fortunately Miss Patti had good taste enough to remember that she was Lucia and not a flower-girl, and paid not the slightest attention to the untimely proffer. It is refreshing to see a singer who has thus a due regard of the proprieties of the character she assumes. Not once, during the continued applause, did Miss Patti swerve from her close appreciation of her part – not once did she lessen the effect of her touching acting by the conventional curtesies [sic] and smiles in which vanity leads so many prime donne lead singers who care more for personal applause than for dramatic consistency. …”