Bateman Concert: 11th

“Parepa.—Our readers must not forget that this is the last appearance but one of this admirable artist—to-morrow evening being her farewell night. The programme for to-night contains many of the lady’s best morceaux. Mr. Dannreuther and Herr Carl Rosa, of course, take part in the concert, assisted by Mr. Theo. Thomas and his grand concert [sic].”

“The last concert but one of this admirable and popular artist took place at Irving Hall, and was attended by a crowded and fashionable audience, notwithstanding the strong attractions put forward by the Italian Opera. Mdlle. Parepa has now given nearly a dozen concerts in New-York during the past three weeks and her attractions, so far from diminishing are on the increase, as evidenced by the crowded audiences which have filled Irving Hall, the last five or six concerts. Not for many years has any artist drawn such large audiences for so many consecutive nights, and this result is the crowning part of her high artistic merits.

          Each new selection that Parepa sings is a vocal revelation. The aria from ‘Le Serment,’ was truly a surpassing example of exquisite vocalism. In its way it could not be surpassed, and its execution was greeted by a burst of enthusiastic applause. Her cavatina, from Traviata was equally perfect in its conception and execution, and the German song ‘Morgen Jensterlien,’ [sic] by Proch, differing in style from both was in its vocal rendering a simple but precious gem. In all that she did Mdlle. Parepa met with the most cordial and enthusiastic appreciation and the heavy and genuine applause testified to the unqualified pleasure which her audience experienced.

          Messrs. Dannreuther and Rosa played well and were warmly applauded, and Mr. Thomas’s orchestra made up the sum of a most delightful concert.”

“. . . We are at Irving Hall, whose echoes repeated for the past three weeks the name of Mlle Parepa. She’s a pearl discovered by M. Bateman, and a pearl, fortunately, who has been appreciated by the public. We know some enthusiasts who compared the new singer, for her breadth of style, the scope of her power, and the fineness and brio of execution, to Grisi. Against ordinary comparisons, this one is only just and well-founded; thus M. Bateman has the chicken with the golden eggs. As for MM. Rosa and Dannreuther, who constitute, along with Miss Parepa, the personnel of these concerts, the thermometer of our enthusiasm is not at the same height. The first is a violinist who is accurate and sweet enough, but he lacks nerve and warmth; the other isn’t strong enough on the piano to rival the renowned virtuousos. One has to be an artist of the first order to make this disagreeable instrument, which can’t stand mediocrity, acceptable. Happily for M. Bateman, one tolerates his pianist and one accepts his violinist out of consideration for the singer. . . . “