Bateman Farewell Concert for Parepa: 4th

Event Information

Academy of Music

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

Carl Anschütz

Price: $1.00; $1.50 reserved

Event Type:

Performance Forces:
Instrumental, Vocal

Record Information


Last Updated:
23 October 2012

Performance Date(s) and Time(s)

11 Jan 1866, 8:00 PM

Performers and/or Works Performed

Composer(s): Handel
Participants:  Euphrosyne Parepa
aka Air varié ; Air varie; Air and variations on Alexis
Composer(s): Hartmann
Composer(s): Levy
Composer(s): Spohr
Participants:  Carl Rosa
aka Fantasy caprice; Fantasia caprice
Composer(s): Vieuxtemps
Participants:  Carl Rosa
aka Tarantella
Composer(s): Mills
Participants:  Sebastian Bach Mills
aka Freischutz overture
Composer(s): Weber
aka nocturne ; notturino;
Composer(s): Mendelssohn-Bartholdy
Composer(s): Hopkins


Announcement: New York Herald, 08 January 1866, 4.

     “The farewell concerts of Madame [sic] Parepa take place at the operatic catacombs, the Academy of Music, this week.  Madame [sic] Parepa is a good but not a great artist, and is assisted by Levy, Carl Rosa and Mills—and by a full orchestra.”

Announcement: New-York Times, 10 January 1866, 4.
Announcement: New York Post, 11 January 1866, 2.
Advertisement: New-York Times, 11 January 1866.
Announcement: New-York Daily Tribune, 11 January 1866, 4.
Review: New-York Times, 12 January 1866, 4.

     The last of the Bateman concerts took place at the Academy last night.  “Mlle. Parepa was in fine voice, and her selections were good and calculated to display her best qualities as a vocalist.  Mr. Mills played the ‘Sonnambula’ fantasie with even more than his usual brilliancy; also, a tarantella by himself.  Messrs. Rosa and Levy repeated their best morceaux with effect, and Mr. Anschutz conducted in the orchestra, which has really been a leading feature of musical attractiveness at these concerts, with that general skill which he alone possesses in every department of his art.  In accompanying the voice or conducting a symphony he is equally good.  His repertoire of music is large and interesting; popular too, but not hackneyed.  A march by Mr. Hopkins was one of the items offered last night.  Mr. Hopkins is an American writer, who needs the opportunity of hearing his own works, like every other young composer.  There is nothing particularly fresh in the march, but it displays a good purpose in the bass.  Mr. Hopkins probably gained more by its performance than anyone else.”

Review: New-Yorker Musik-Zeitung, 15 January 1866, 33.

     Review covering all five concerts of January 6, 8-9 and 11-12, 1866.  Very well attended. The programs did not vary much from the ones before. Even the performers were much the same except for Mills. However, even Mills repeated his usual pieces. We do not comprehend that a fine artist such as Mills is moving in the same circle (of people) all the time. We suggest for him to leave out his own compositions for a change. The audience has heard enough of them. Moreover, we advise that he should use the Chopin style music for other works more. Above all he should adopt a repertoire of brilliant pieces. He is able to play everything, and much better than anybody else. So why not use his talent in a more diverse way?

     Mme Parepa gave a less favorable impression. She seemed very fatigued; the repercussions of the stress she must have been exposed to. What she is in need of, is peace and quiet.

     Mr. Levy also seems indisposed. He is the highlight of the concert for the majority of people’ however, we are not among them.

     The violinist Mr. Rosa will leave the ensemble next week to spend the summer in London, before moving back to his hometown Hamburg (Germany).

     Anschütz conducted the orchestra as usual. We believe the orchestra could dare to play more demanding works than the Zampa overture.