Article on the forthcoming season of the Maretzek Italian Opera Company

“Italian Opera.—Greeting to Maretzek! The brave impresario is at home again, and with his hand upon his baton he is ready for business. He has leased the Academies of New-York and Brooklyn, has engaged artists and choruses and orchestra and prepared for a vigorous prosecution of a Winter’s campaign. Of his troupe a competent judge says: Of the four prime donne who are to head the list of the strongest opera troupe that we have had in perhaps, fifteen years, three are known to our public, while the fourth has yet to receive its applause. Their names are: Signora Carozzi-Zucchi, Miss Clara L. Kellogg, Signorina Ortolani, and Signorina Bossissio [sic]. The two contralto [sic] will be Miss Adelaide Phillips and Signora Bine de Rossi. A tenor trio of proportionate ability is secured in the voices of Signor Mazzoleni, Signor Massimiliani, and a new tenore di grazia from Italy, Signor Irfre. The baritone will be those established favorites, Signors Bellini and Ardavani, while the Imperial Italian Opera of Paris has been robbed of its great basso, Antonucci, and it is quite probable that either Hermanns, or a newly-arrived German basso, who is said to have a most remarkable organ, will be retained. The list of principals concludes with the name of Signor Rovere, the accomplished buffo, who we remember made a great hit at Castle Garden and Niblos’ some years ago, having come here under the auspices of Madame Alboni. What was more wanting in last year’s company was an able basso, and it is very satisfactory to know that Mr. Maretzek has had the sagacity and liberality to detach from the leading opera-house of Paris an artist so highly esteemed as Antonucci. During the last two seasons, his name has been constantly before the Parisians with those of Adelina Patti, Vitali, Zucchini, Naudin, and Scalese. Previous to this time, he appeared in Milan, Lisbon, Madrid, and other captials, besides singing for three years in Havana, where he left a most enviable reputation.

          If we remember aright Signor Irfre was singing with success at La Scala, Milan, two years ago, and afterward at the new theatre of Barcelona. He has had at least ten years’ steady career in the best Italian theatres, and since the translation of ‘Faust’ into Tuscan, has been recognized as being one of the best representatives of the rôle of that name in all Italy.

Mdlle. Bossissio, is a belle just turned of twenty Summers, or thereabouts, and has been only three years before the public. She has, however, sung with universal success in Turin, Trieste, Malta and Florence and is looked upon as a rising Italian star. Her good looks will commend her before she utters a note. Her repertoire is unusually extensive—running clear through the whole range of modern Italian opera. Previous to entering upon her public career, this donna obtained the first prize at the Milan conservatoire. She was the favorite pupil of Maestro Petrella, who prepared her for her debut, selecting for that occasion the character of Ione as the medium through which she was presented. He recently wrote a comic opera for her –‘Il Foletto di Gesly,’ or the ‘Will-o’-the-Wisp,’ which Mr. Maretzek will produce at an early date.

          Of Signora Bine de Rossi all we hear is that she has arrived here from one of the South American theatres, that of Rio Janeiro [sic] being mentioned; and that those who have heard her in private give a gratifying report of her voice. The strength of the company may be summed up thus: Four soprani, two contralti, three tenori, two baritoni, two bassi, one buffo basso, making a total of fourteen principal artists, of whom eight at least are known to be among the finest singers of the day. We need not refer to the comprimarii [sic], who will be, of course, competent.

          Maretzek has extracted from it all that was conspicuously good in Anschutz’s late German opera company, to wit, the chorus, and in addition has procured the services of twelve (12) male voices from the chorus of Her Majesty’s Theatre, London. These chosen twelve are prized only a little less than artists, and are to be employed only for the coming season, being already reengaged for the following term in London.

          The works which will be first put in rehearsal are the ‘Africaine’ and the buffo opera ‘Crispinore [sic] Comare,’ which ran all last Winter at the Italian opera, Paris, with Vitali, Zucchini, and our old pet Brignoli, in the cast. These two operas and the ‘Foletto di Gesly,’ are to be produced during the Fall season. From the capabilities of the different artists comprising the company, it is easy to foreshadow the cast of the absorbing sensation of the hour –‘L’Africaine.’ We venture the following statement:

Zelika…………..Signora Zucchi.

Inez......................Mdlle. Bossissio.

Vasco di Gama…Signor Mazzoleni.

Neinsco…………Signor Bellini.

Don Pedro………Signor Antonucci.

          For this great composition, for which the judgment of Paris has predestined immortality, the impresario has procured full copies and models of all scenes and dresses, from the management to whose supervision Meyerbeer himself intrusted [sic] its original production, and we risk nothing in asserting that it will be presented in New-York in most attractive style.

          Maretzek’s application-book is already full; the success of his season, which will probably open about 1st October, is already assured. If the new-comers are at all worthy their companionship, we hesitate not to predict pleasure for the public, profits for the manager.”