Bateman Concert: 9th

Event Information

Irving Hall

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

Theodore Thomas [see also Thomas Orchestra]

Performance Forces:
Instrumental, Vocal

Record Information


Last Updated:
19 October 2012

Performance Date(s) and Time(s)

26 Sep 1865, 8:00 PM

Program Details

Parepa was encored for “The Nightingale’s trill,” which she repeated, and “Ay chiquita,” for which she performed an unidentified song as encore. The orchestra was probably the Theodore Thomas Orchestra, although the citations and the Upton do not specify this.

Mendelssohn: Caprice brilliante, E minor [probably Capriccio brilliant, op. 22, B minor] (Dannreuther)

Performers and/or Works Performed

Composer(s): Verdi
Participants:  Euphrosyne Parepa
Composer(s): Ganz
Participants:  Euphrosyne Parepa
Composer(s): Iradier
Participants:  Euphrosyne Parepa
aka New song
Composer(s): Unknown composer
Participants:  Euphrosyne Parepa
Composer(s): Gung'l
Participants:  Euphrosyne Parepa
Composer(s): Mendelssohn-Bartholdy
Composer(s): Vieuxtemps
Participants:  Carl Rosa


Announcement: New-York Times, 25 September 1865, 4.

“Such of our readers as have not yet heard Mlle. Parepa would do well to seize one of these remaining opportunities. There is but one opinion concerning the truly admirable quality of her voice. We have never had a better cantatrice in this country. It is a pleasure to listen to her.”

Advertisement: New York Herald, 26 September 1865, 3.

“Dannreuther, the successful American pianist.  Herr Carl Rosa, Kappelmeister and Solo Violinist.”

Advertisement: New-York Daily Tribune, 26 September 1865.
Announcement: New-York Daily Tribune, 26 September 1865.

New series commences.  “Parepa will introduce some new selections.”

Review: New-York Times, 27 September 1865, 4.

“Irving Hall.—Mlle. Parepa’s concert here last evening was so crowded that the usual notice had to be put out, ‘Standing-room only.’ The lady sang various pieces which have already been commented on in these columns, and in the second part introduced a charming waltz by Gungl, which has never, we think, been given here.  It lacks the repose which Arditi displays in his famous Il Bacio.  But it is bold and captivating.  Mlle. Parepa’s performance of it was simply perfect, her intonation absolute and her voice enormous. We have spoken of this lady so often that it is hardly necessary to add a word in her praise. Criticism is indeed thrown away upon her. There is nothing to criticize. She is simply the greatest artist we have ever had in this country, and is—we are glad to say—accepted as such.”

Review: New-York Daily Tribune, 27 September 1865, 4.

“The new series of these concerts commenced last night at Irving Hall, the success of the first series warranting their renewal. The concert at Brooklyn on Monday evening was very successful, the Academy of Music being brilliantly attended, and Mdlle. Parepa encored in all her selections.

          The first part of the concert last night offered nothing for special comment, so far as Mdlle. Parepa was concerned, as she only repeated previous selections—‘Ernani in volami’ and the ‘Nightingale Trill,’ [sic] which grows more popoular with each repetition. These she sang as before, with that perfection of grace, finish and executive brilliancy, which characterize her style. As usual, she was encored in both pieces, and in response she simply bowed in the first case, and repeated the song in the second. In the second part she sang, first a Spanish song ‘Ay Chiquita,’ and the Parepa Waltz, by Gungl, expressly arranged for her. She sang the Spanish song with much pathos, was encored, and sang another song equally well. Better selections perhaps might have been made.

          The Parepa Waltz is a brilliant vocal effort, full of brilliant effects, which she executed with marvelous skill and wonderful certainty. Some of the cadenzas are of great and peculiar difficulty, but she overcomes them with a facility which is both surprising and delightful. She gained, as usual, an undeniable encore, to which she responded with even greater effect.

          Mr. Edward Dannreuther performed Mendelssohn’s beautiful Caprice Brilliante, in B minor, in a very brilliant and effective manner. He read its varying sentiment very intelligently, and his execution was crisp, clear and brilliant. It was altogether his most successful performance in public. The grand piano, one of Steinway’s, produced a fine effect.

          Carl Rosa played Vieuxtemps’s ‘Polonaise’ in a tasteful manner, and with much spirit. Haydn’s Piano and Violin Duett was also pleasingly and spiritedly played and was very well received.

          The hall was crowded to excess, and that pleasant card to managers, ‘Only standing room’ was displayed outside early in the evening.”