Bateman Concert: 5th

Event Information

Irving Hall

Theodore Thomas [see also Thomas Orchestra]

Price: $1; $1.50 reserved

Performance Forces:
Instrumental, Vocal

Record Information


Last Updated:
11 October 2012

Performance Date(s) and Time(s)

18 Sep 1865, 8:00 PM

Program Details

The orchestra was probably the Theodore Thomas Orchestra, although the citations and the Upton do not specify this.

Performers and/or Works Performed

Composer(s): Mozart
Participants:  Euphrosyne Parepa
aka Shadow dance; Schattentanz; Shadow song
Composer(s): Meyerbeer
Text Author: Barbier, Carré
Participants:  Euphrosyne Parepa
Composer(s): Handel
Participants:  Euphrosyne Parepa
Composer(s): Ganz
Participants:  Euphrosyne Parepa
aka Reminiscences of Rigoletto; Fantasia Rigoletto; Rigoletto fantasie
Composer(s): Liszt
Composer(s): Beriot
Participants:  Carl Rosa


Advertisement: New York Clipper, 04 September 1865, 174.
Advertisement: New York Herald, 18 September 1865.

Gives incorrect date: “Monday evening, Sept. 17.”  Monday was September 18.

Advertisement: New York Post, 18 September 1865.
Announcement: New-York Times, 18 September 1865, 5.

Irving Hall.—Mlle. Parepa’s fifth concert takes place here to-night. The tremendous success of this lady was the musical event of the past week. Her ability as an artiste has been recognized by every one with a frankness which we rarely find equaled, but which in this case was thoroughly justified. Every lover of music should hear this truly great artiste.”

Review: New-York Times, 19 September 1865, 5.

More of a general review of all the Bateman concerts.  “The Bateman concerts are continued with great energy and a fair degree of success at Irving Hall.  They are a most attractive series of entertainments, liberally and judiciously conducted, and highly interesting in an artistic point of view.  Mlle. Parepa has gained a firm and lasting hold on the musical community by her splendid vocalism, fine voice and natural and pleasing manner.  It seems indeed as if some of the pieces introduced by this lady would become rapidly popular.  This is especially the case with the ‘Nightingale’s Trill,’ and ‘Sing, Birdie, Sing,’ two pleasant melodies by Mr. Ganz—the latter containing a brilliant cadenza, which is dashed off with immense spirit by the lady.  No artist has ever been in this country who treads more steadily the most bewildering heights of altissimi.  The concerts are rendered additionally interesting by the presence of a fine orchestra under the competent direction of Mr. Theo. Thomas.  The solo artists, Messsrs. Dannreuther and Carl Rosa, also display increasing ability.  They are both young, and possess ability which will surely ripen with time and practice.”

Review: New-York Daily Tribune, 19 September 1865, 4.

"Musical.  Madame Parepa’s concerts. The fifth concert of this admirable artist was given at Irving Hall last night, to a very large audience, considering that the equinoctial is upon us, with a change of weather and temperature circulated to kill every genial emotion, and drive the masses to coal fires, overcoats and india-rubbers. On this occasion Madame Parepa sang the following selections: the Recitation and Aria, ‘From Mighty Kings,’ by Handel, the ‘Shadow Song,’ by Meyerbeer, ‘Vedrai Carino,’ Mozart, [sic] and ‘Sing, Birdie Sing,’ composed expressly for her by Wm. Ganz. The first song was one of the finest vocal efforts that we have yet heard from Madame Parepa. She sang it last week, but it lacked the force and brilliancy of her performance last evening. There were bursts of impassioned power which really startled the audience to enthusiasm. It was loudly encored.

          Meyerbeer’s famous “Shadow Song,” affords Madame Parepa a fine chance for the display of her brilliant and well articulated execution, and also for exhibiting the perfect control of the voice. The elaborate cadenza which leads to the repetition of the first subject, was from its extreme difficulty and chromatic character a marvelous exhibition of the perfection of her vocal culture. Nothing could be more beautiful than the strong contrasts she produced by alternating on one note the forte and piano, the one being the mere vocal echo of the other. As a specimen of elaborate and brilliant vocalism in all points where thorough education tells this was unquestionably her chef d’oeuvre. The ‘Vedrai Carino’ was sung smoothly, sweetly and with full heart, calling forth an encore that could not be resisted, in reply to which she sang ‘Il Baccio’ which was hailed with enthusiasm. She sang it superbly, as usual, reveling in her altissimo notes with delicious ease, for which she had the honor of a double recall. Her last song, ‘Sing, Birdie, Sing,’ is one of those catching melodious and brilliant trifles that strikes the public at once, and becomes an immediate favorite. It created on this occasion a furore, and the call for repetition was hearty and prolonged, but an apology was made for her which was at once accepted.

          Mr. Dannreuther played Liszt’s ‘Rigoletto’ with more force than on his first appearance, but we are satisfied that Liszt’s music is not his forte. Carl Rosa played De Beriot’s Fantasie de Ballet very charmingly, and won a well-deserved recall.”