Article on the forthcoming season of the Maretzek Italian Opera Company

“Academy of Music.—The subscription for Mr. Maretzek’s coming season of Italian opera opened yesterday, and the sale, we are happy to say, was unusually large. Although this result was not wholly unexpected, it is still gratifying in view of the fact, that the unexpected temperature of the Fall season has enabled the fashionable world to prolong its stay in the country. The same cause has probably detained our country visitors in the city. Of the two we are disposed to think that the latter have the best of it. The ardent attentions of the sun are not to be wholly escaped, but they may be accepted more cheerfully in the solitudes of our still deserted avenues, rather than in the dusty and choking lanes of the country. It is a singular fact, that notwithstanding the almost unbearable heat, every place of amusement now open to the public is literally crowded. We doubt not that the same good fortune will be enjoyed by Mr. Maretzek. When the drama succeeds, the opera can generally manage to take care of itself. It may be added, too, that while the promise of the theatrical future does not hold forth any particular novelty, either in the way of actors or pieces, the musical world will, undoubtedly, be stirred to its centre by the production of Meyerbeer’s ‘Africaine,’ and by the débuts of several new singers.

          Mr. Maretzek’s programme indeed is unusually interesting. It may safely be affirmed that no company of equal merit has appeared at the Academy for many years. It is in truth a consolidation of the best artists of two well-approved campaigns, with many powerful additions from Europe. Of the latter it is hardly the time to speak, but if they are only equal to their associates the combination will be remarkable. From the extent of the company we conclude that Mr. Maretzek intends playing here and in Brooklyn six times a week.

          The orchestra has been selected with great care, and is numerically and individually stronger and better than heretofore. All the itinerant opera companies have come to an abrupt end, and the fiddlers returned home. The best selection could therefore be made. In the chorus, too, a marked improvement will be noticeable. The most refractory of the male members of this stubborn organisation have been sent to the right about, and their places supplied by a thoroughly well-drilled corps from Her Majesty’s Theatre, London. The gentlemen who refused to rehearse last season, without an additional pecuniary consideration, are therefore dispensed with. It was of course a great expense to Mr. Maretzek, but it has taught him the lesson that he can at any moment resist the extortionate demands of these ill-conditioned gentlemen.

          The great musical event of the season will of course be the production of ‘L’Africaine’—the posthumous work of Meyerbeer—about which aesthetical Europe is yet convulsed. That it has grown on its hearers, is without doubt. Already, indeed, a considerable party regard the opera as the composer’s best, and it is pretty certain that Meyerbeer was of the same opinion. Properly pruned, it will, we doubt not, occupy a legitimate place in the standard repertoire of the Academy. Of a totally different character is the comic opera of ‘Crispino e la Comare,’ by the Brothers Ricci, a work which has lain perdu for many years, but has created a genuine furore on its revival. The music is light, sparkling, melodious and dramatic. The situations are in the highest degree ludicrous. Another opera, by Petrella, called the ‘Foletta di Gresy,’ completes the list of novelties. The most favorite operas of the regular repertoire will be suitably revived as occasion demands. The extent of that repertoire enables the manager to give great variety to his performances. It will be seen that there is good reason for the favor with which the new campaign is regarded by the public and the stockholders.”