Bateman/Maretzek Combination Concert

Event Information

Venue(s):
Academy of Music

Manager / Director:
Max Maretzek
H. L. [impressario] Bateman

Event Type:
Opera

Performance Forces:
Instrumental, Vocal

Record Information

Status:
Published

Last Updated:
24 August 2012

Performance Date(s) and Time(s)

18 Oct 1865, 8:00 PM

Program Details

Parepa was scheduled to perform but cancelled because of illness: She was going to perform:
Auber: Serment, Le, ou Les faux monnoyeurs, “Du village voison,” aria
Handel: [Samson,] “Let the bright seraphim” (Parepa, Levy)
Ganz: “Nightingale’s trill, The” (Parepa)


Performers and/or Works Performed

3)
Composer(s): Mendelssohn-Bartholdy
4)
aka Air varié ; Air varie; Air and variations on Alexis
Composer(s): Hartmann
5)
aka Ballade et polonaise brilliante
Composer(s): Vieuxtemps
Participants:  Carl Rosa
6)
aka Invitation à la valse
Composer(s): Weber
7)
aka Levy Athen polka; Levy-Athen polka
Composer(s): Levy
8)
Composer(s): Bellini
Participants:  Clara Louise Kellogg
9)
aka Grande valse; Valse de concert; Bird of the forest
Composer(s): Venzano
Participants:  Clara Louise Kellogg

Citations

1)
Advertisement: New York Post, 14 October 1865.
2)
Announcement: New-York Times, 14 October 1865, 4.
3)
Announcement: New-York Times, 16 October 1865, 4.
4)
Advertisement: New-York Daily Tribune, 17 October 1865, 3.

“Second and Last Grand Concert by the Bateman Concert Company.”

5)
Advertisement: New-York Times, 18 October 1865, 7.

Includes program.

6)
Advertisement: New-Yorker Staats-Zeitung und Herold, 18 October 1865.
7)
Review: New-York Times, 19 October 1865, 5.

“The second Parepa evening was marred, but not spoilt by the weather. So far as the house was concerned, there was hardly anything to be desired. The seats and boxes were occupied, and a fringe of ‘standers’ filled up the passages. But the particular and vexatious action of the weather was manifested in the case of Mlle. Parepa, whose cold not being benefited [sic] by the humidity of the atmosphere, became unmanageable. Under these circumstances it became impossible for the lady to sing, and a golden opportunity was presented to Mr. Bateman to make a speech to that effect. The disappointment would undoubtedly have been great had not the best favorite of the public, and the most charming and obliging artist in America, Miss Clara Louise Kellogg, kindly volunteered at the last moment to take the place of the invalid. This civility enabled the concert to proceed without interruption. Miss Kellogg was in splendid voice, and sung Qui la Voce and the Venzano Waltz with faultless precision and to the best effect. We need scarcely add that she was heartily applauded. The other performances were the same as last evening—Mr. Levy, the cornet player, achieving a fresh success in the three pieces which he performed.

            The opera of ‘Lucia di Lammermoor’ was performed after the concert—Mme. Ortolani-Brignoli sustaining the role of the heroine. Two years have elapsed since this lady last appeared before our audience, and the interval has evidently been improved studiously and successfully.  We have never heard her to better advantage. Signor Mazzoleni and Signor Bellini sustained their original rôles, and were, of course, excellent.”

8)
Review: New-York Daily Tribune, 19 October 1865.

“The Parepa combination with the Academy company was not fully carried out last evening in consequence of the continued indisposition of Mdlle. Parepa. There was an overflowing and fashionable audience present, and the fact of Mdlle Parepa’s illness was received with kind consideration, the more especially as Miss Kellogg, with true womanly and artistic courtesy, volunteered, on being informed of the circumstances, to supply her place. She was, of course, enthusiastically received, and the singing of the Scena from ‘I Puritani’ was warmly and cordially applauded, as was also her rendering of the well-known Venzano Waltz.

            Mr. Levy confirmed the good impression which he made on Tuesday evening. He is unquestionably a brilliant performer, a perfect master of his instrument. Mr. Dannreuther played on this occasion most acceptably.

            After the concert the opera of Lucia di Lammermoor was performed, the principal characters being personated by Mdlle. Ortolani, Signor Mazzoleni and Signor Bellini.

            We were not prepared to meet in Mlle. Ortolani as thoroughly excellent an artist.  Her improvement since she sang here last is altogether remarkable. Her voice is of pure and beautiful quality, and although its timbre is not calculated for the heroic opera, it is all sufficient for works of the class of Lucia. Her execution is [illeg.] clear, and well defined; all the passages of fioriture, even to the chromatic scale, are most charmingly vocalized, and all those delicate points of finish, which the modern artists of the grand school affect to despise, are artistically and faithfully executed. She also sings with genuine felling and passion, and acts gracefully and intelligently. We look upon her as a great acquisition to the company, and one who, if she has opportunities of being heard, will assuredly become a special favorite.

            We have rarely heard Mazzoleni to better advantage than in Lucia.  He subdued his, often, too emphatic style, and sang with admirable taste and finish, giving marked coloring and delicate shading to all the music of his role, particularly in the concerted music.  Signor Bellini sang well, and Mr. Reichardt deserves favorable mention.

            The chorus and orchestra fully sustained the excellent reputation they have earned this season.”

9)
Review: Dwight's Journal of Music, 28 October 1865.

“Two Parepa concerts were given in the New York Academy of Music last week, each entertainment supplemented by a few choice dishes of Maretzek Opera—as if enough were not good as a feast.  Mme. Parepa had such a cold that she could appear at all on the second night, and Miss Kellogg obligingly volunteered at the last moment to take her place.  Rosa and Dannreuther played, and of course, ‘my cornet’ blew the house down. The witty Saturday Press (welcome revival!) has the following version of ‘Bateman’s last speech in French (when the great songstress was ill)—Mlle. Parepa ne parait pas.’”