Benefit of the French Benevolent Society

     “‘Crispino’ will be given, with the Incantation scene from ‘Robert le Diable.’”

     “A fine and fashionable audience was also present in the evening, when the performances (‘Crispino e la Comare’ and an act from ‘Robert le Diable,’) were for the benefit of the French Benevolent Society. ”

     Despite the higher ticket prices the event was sold out; even over-filled.

     “Musical. CLOSE OF THE ITALIAN OPERA SEASON. …     The record fall season has been one of continued success. The revived operas attracted large houses and the new operas were successful almost beyond precedent.  The comic opera ‘Crispino e la Comare’ by the brothers Ricci, of which but moderate success was prognosticated, became popular at once, and to an extraordinary degree. This was due to a combination of art and artists. The music, charming in melody, rich in clever concerted pieces, and brilliant in instrumentation, is admirable because of its perfect adaptation to the subject itself, apart from the situations and the pure comic element. Effective as the music is, it never rises beyond the level of its subject. Thus the incidents and the music are homogeneous, and the public are struck at once with the unity of the whole. The artists selected to interpret the music could not have been improved upon. Miss Kellogg created the character of the cobbler’s wife; she entered into all its phases with infinite spirit, acted with a piquant grace, and sang the rôle with naivete, fluency, and brilliancy. Bellini, as the ‘regular’ doctor, displayed a degree of humor that would place him in Europe in the front rank of buffo singers. His humor, rich, racy and at the same time gentlemanly, and his admirable singing, left nothing to be desired. Poor Rovere, as Crispino, maintained his reputation as one of the first of buffo singers, and so identified himself with the part, that his successor will need all the sympathy of the audience, and all the force of his own talent to battle against the popular reminiscence. The secondary characters were ably sustained, the choruses well performed, and the band was well drilled and well conducted. It was the united excellence of the music and the audience, which secured the remarkable success of Crispino e la Comare.

     There is a curious fact connected with the present success of this opera. For years it was considered a failure, and the reason remained undiscovered until the work fell into the hands of a clever French critic, who discovered the cause. The chief incident of the second act is the restoration to life of a man by Crispino, through the aid of a fairy; in the original score, the same incident, only substituting a woman is detailed, but much less successfully as regards the music. This twice told tale rendered the opera heavy, and secured its failure. The act was cut out altogether, the action became close and rapid, the interest was concentrated, and a brilliant success was the immediate result [review continues on other matters].”

     “All is fortune and misfortune. The opera performance for the benefit of the French Benevolent Society was a blessing for the poor, a calamity for the arts.

     The receipts exceeded four thousand dollars; the expenses didn’t reach eighteen hundred; so it’s more than two thousand and two hundred dollars in the till of those who have none. Let’s congratulate the committee and its members for their zeal, the energy they expended; let’s congratulate them for the good arrangements they made’ let’s congratulate them above all for their success, which has justified everything, even their attainments—and let’s also congratulate the public, which responded to the appeal with an alacrity worthy of such a worthy cause. Finally, let’s congratulate and thank the Americans, who contributed abundantly to this act of charity, considering, without doubt, that a good deed is a native act everywhere, even in America.

     But the shadow, near this light, is the death of that excellent Rovere, who contracted the illness to which he succumbed upon leaving the French performance, to whose success he had contributed so powerfully. . . . “ [remainder of article on Rovere’s death is in entry of 12/17/65 on Rovere’s funeral]