Bateman Concert: 7th

Event Information

Venue(s):
Irving Hall

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

Conductor(s):
Theodore Thomas [see also Thomas Orchestra]

Price: $1; $1.50 reserved

Performance Forces:
Instrumental, Vocal

Record Information

Status:
Published

Last Updated:
17 December 2014

Performance Date(s) and Time(s)

22 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

2)
aka "With verdure clad"; Schopfung, Die. Nun beut die Flur das frische Grun
Composer(s): Haydn
Participants:  Euphrosyne Parepa
3)
aka Ocean, though mighty waste
Composer(s): Weber
Participants:  Euphrosyne Parepa
4)
Composer(s): Ganz
Participants:  Euphrosyne Parepa
5)
aka Kiss; Kuss, Der
Composer(s): Arditi
Participants:  Euphrosyne Parepa
6)
Composer(s): Ganz
7)
Composer(s): Arnold [composer]
Text Author: Colman Jr.
Participants:  Euphrosyne Parepa
8)
aka Shadow dance; Schattentanz; Shadow song
Composer(s): Meyerbeer
Text Author: Barbier, Carré
9)
Composer(s): Strauss
10)
aka Midsummer night's dream, A; wedding march
Composer(s): Mendelssohn-Bartholdy
11)
aka Magic flute, The
Composer(s): Mozart
12)
aka grand selection
Composer(s): Meyerbeer
13)
Composer(s): Donizetti
14)
Composer(s): Weber
15)
Composer(s): Beethoven

Citations

1)
Advertisement: New York Herald, 22 September 1865.
2)
Announcement: New-York Times, 22 September 1865, 4.

“Mlle. Parepa will sing ‘Ocean, Thou Mighty Waste,’ ‘Il Bacio,’ or ‘The Kiss,’ ‘Savourneen Delish,’ ‘Sing, Birdie, Sing,’ and other gems.”

3)
Advertisement: New-York Times, 22 September 1865.

Lists Weber piece as “Ocean, Thou Mighty Waste.”

4)
Advertisement: New-York Daily Tribune, 22 September 1865.
5)
: Kellogg, Gertrude. New-York Historical Society. The Diaries of Gertrude Kellogg, transcribed by Katherine K. Preston, amplified by Christopher Bruhn., 22 September 1865.

“The lady’s voice is voluminous, flexible, cultivated & of large compass, so people crowd her concerts and applaud her most inartistic, meaningless tours de force.  She is entitled to credit for appreciating real music, for of her four pieces tonight, ‘Batti, Batti’ and ‘With Verdure Clad’ were two.  But she delivered both these noble exquisite melodies with a coarse vehemence that would have better suited a screaming hurdy-gurdy aria by Verdi—much as Edwin Forrest would, I suppose, read ‘To be or not to be.’ There was a satisfactory little orchestra, and its last performance was remarkable, a Quadrille by Strauss.  It was a concert of little bits or gems from Mendelssohn’s Wedding March, the Zauberflote, Robert le Diable, Lucrezia, Freyschutz, Oberon, Beethoven’s Sonatas, etc., very scrappy and absurd of course but not at all disagreeable. Each scrap was delicious per se, and the music was skillfully put together.”

6)
Review: New-York Daily Tribune, 23 September 1865, 5.

The Bateman Concerts.—The seventh concert of Mdlle. Parepa at Irving Hall was brilliantly attended; not only was every seat filled, but every available standing spot was occupied. New-York is somewhat slow to recognize superior excellence, especially if the reputation has not been forced upon its attention, but its conclusion is nearly always right, as in this instance. Mdlle. Parepa was allowed the probation of a week in which to develop the scope of her abilities.  She has gone through it brilliantly and has come forth as a bright star and as an established popular favorite.

            The new point of attraction in the programme last evening was Haydn’s celebrated song, ‘With verdure clad,’ which Mdlle. Parepa sang with a simple gracefulness, with an exquisitely melodious carrying of the voice which we have never heard excelled. She adhered, if anything, too strictly to the text. A little yielding here and there would probably have been more effective with the many, but we can hardly hope to hear a more deliciously vocal rendering of this beautiful aria. Mdlle. Parepa’s style is based upon the strict English oratorio school, which for purity in every element of true singing is unequaled in the world, to which she has added the warmth, breadth and color of the best Italian school. It would be hard to imagine a more admirable combination, and in this respect Mdlle. Parepa stands alone among all the singers who have visited us. She is equally at home in the ecclesiastical school, the ballad, the chanson, and the opera, Italian and English. We have had no artist whose abilities were so varied, and of so high a character, and to her must be awarded the palm of an even and admirable perfection in each school and style. In addition to ‘With verdure clad,’ she sang that song which is now demanded—‘The Nightingale’s Trill,’ which gained an unanimous encore. As we have said before, the rendering of this song is the perfection of vocalization. Her ‘Batti, Batti’ was finely interpreted, and the ‘Il Bacio’ carried the audience up to a point of high enthusiasm. It is needless to add that all her selections were encored. Messrs. Dannreuther and Rosa have gained confidence and now display their abilities with much more acceptance to the public.”