Bateman Concert: 6th

Event Information

Irving Hall

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

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)

20 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

aka Shadow dance; Schattentanz; Shadow song
Composer(s): Meyerbeer
Text Author: Barbier, Carré
Participants:  Euphrosyne Parepa
Composer(s): Gounod
Participants:  Euphrosyne Parepa
Composer(s): Bach
Participants:  Euphrosyne Parepa
Composer(s): Wallace
Participants:  Euphrosyne Parepa


Advertisement: New-York Daily Tribune, 19 September 1865.
Advertisement: New York Herald, 20 September 1865.
Announcement: New-York Times, 20 September 1865, 5.
Advertisement: New-York Times, 20 September 1865, 7.
Review: New York Post, 21 September 1865, 2.

“The delightfully cool weather of last evening aided the attractions of Mr. Bateman’s programme in filling Irving Hall to excess with a large audience of professionals and amateurs.  Parepa sang well, renewing her customary triumphs, though her voice was not quite as clear as on previous occasions. 

          Rosa and Dannreuther were favorably received, and Mr. Thomas’ orchestra gave the usual satisfaction in two good but hackneyed overtures. 

          Among the large number of musical notabilities in the audience was Mr. Wehli, the pianist, who has just returned from Europe…during the winter [he] will give a few concerts in this city. Mr. Wehli is to receive five hundred dollars a month in gold; making for his six months’ engagement, ten thousand dollars in gold.”

Review: New-York Times, 21 September 1865, 4.

“The sixth Bateman concert attracted one of the largest and most fashionable audiences ever assembled in this capacious and frequently overtaxed hall.  Mlle. Parepa sang not only the three pieces allotted to her share, but three others (generally of liberal dimensions too) were insisted on by her admirers.  The novelties were an ‘Ave Maria,’ (arranged from one of Bach’s themes, by Gounod,) and a pleasing but somewhat [illeg.] ballad, by Wallace, called ‘Why Throbs this Heart.’  Both were rendered with good effort, and led to the results already referred to.  The enthusiasm of the audience seemed indeed to be unbounded.”

Review: New-York Daily Tribune, 21 September 1865.

“Last night being cool and clear, our fashionable musical circles, into which the brilliant reputation of Mdlle. Parepa has penetrated, turned out in full force, crowding Irving Hall to its utmost capacity, so that ‘only standing room’ was pasted outside before the concert began, and a large number of people were turned away, and went over to Hermann at the Academy of Music. We had no fear of the ultimate popularity of so fine an artist as Mdlle. Parepa when adverse circumstances were somewhat modified.

            The selections for Mdlle. Parepa on this occasion were, with one exception, the same as we have previously noticed, namely the ‘Shadow Song’ from ‘Dinorah,’ ‘Bach’s Prelude,’ [sic] arranged by Gounod, and ‘Sing, Birdee, Sing’ [sic]. Mdlle. Parepa was in admirable voice and sang with her accustomed grace, force, brilliancy, and truthfulness. The ‘Shadow Song’ is unquestionably one of the most striking vocal efforts, inasmuch as the fiorituri is of the most elaborate kind, and is executed by her in a manner almost perfect. She was encored, of course, and sang that charming song ‘The Nightingale’s Trill’ deliciously. Its rendering is an example of pure vocalism that cannot be surpassed. Bach’s Prelude, notwithstanding that it was well sung, proved but a dreary affair, and singularly ineffective. Wallace’s charming ballad, ‘Why throbs this heart,’ and ‘Sing, Birdee, Sing,’ were sung with tenderness, grace, and that freshness of feeling which form the charm of her singing.

            Last night’s performance proved Mdlle. Parepa’s power over her audience, and the brilliant and crowded house indicates that her career of success has commenced. Her splendid abilities richly deserve the most liberal patronage of the public, while they command the admiration of all who can appreciate art in its highest culture.”