Parepa Farewell Benefit Concert

Event Information

Irving Hall

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

Carl Anschütz

Price: $1.00; $1.50 reserved

Event Type:

Performance Forces:
Instrumental, Vocal

Record Information


Last Updated:
15 January 2015

Performance Date(s) and Time(s)

20 Jan 1866, 8:00 PM

Performers and/or Works Performed

aka O Perfido
Composer(s): Beethoven
Participants:  Euphrosyne Parepa
Composer(s): Mozart
Participants:  Euphrosyne Parepa;  Maria Seguin
aka Laughing song; Eclat de rire
Composer(s): Auber
Participants:  Euphrosyne Parepa
Composer(s): Verdi
Participants:  Sherwood C. Campbell
aka Rose of Castile, The
Composer(s): Balfe
aka Air Hongroise
Composer(s): Levy
aka Faust, redowa
Composer(s): Gounod
aka Fantasy caprice; Fantasia caprice
Composer(s): Vieuxtemps
Participants:  Carl Rosa
Composer(s): Rosa
Participants:  Carl Rosa
Composer(s): Mozart
Composer(s): Flotow
Composer(s): Mendelssohn-Bartholdy


Advertisement: New-York Times, 16 January 1866, 7.
Announcement: New York Post, 18 January 1866, 2.
Advertisement: New-York Daily Tribune, 18 January 1866, 3.

     Performers. “And a Grand Orchestra.”

Advertisement: New-York Daily Tribune, 19 January 1866, 3.


Announcement: New-Yorker Staats-Zeitung und Herold, 19 January 1866.
Advertisement: New-York Times, 20 January 1866, 7.

     Includes program.

Announcement: New-York Times, 20 January 1866.

     “Mlle. Parepa—of whom we have only the most pleasant reminiscences—will take her benefit here tonight.  She sings, among other pieces, the grand scena and aria by Beethoven—“Ah Perfido”—a purely artistic performance, and the only one which shows the greatness of her ability, the inexhaustible resources of her voice, and the skill with which she uses these advantages.  Mlle. Parepa sings other pieces, but we desire to direct attention to this as an exceptional instance of what a grand and well-managed voice can do in illustrating a large and very difficult composition.  Such singing has never before been heard in this country.

     The occasion is rendered additionally interesting by the debuts of Miss Seguin and her brother, Mr. E. K. Seguin, (the latter already favorably known.)  The name of Seguin is historical.  Mr. S. B. Mills, Mr. J. Levy, Mr. Carl Rosa, and a grand orchestra under the direction of Mr. Anschutz, will also take part in the concert.”

Review: New-Yorker Musik-Zeitung, 22 January 1866, 49.

     It is probably due to the “streams of tears cried by her admirers” that Parepa postponed her announced departure for Europe and thus did not perform for the last time yet. It is not clear when her final performance will be. However, we are certain that she did not pretend to have this performance tonight her last show in order to draw a larger audience. This would rather be the style of Ullmann.

Review: New York Post, 22 January 1866, 2.

     “[A] handsome tribute to the popularity in which the eminent vocalist [Parepa] is held by our musical public. . . . [She] sang in her most magnificent style.”

Review: New-York Times, 22 January 1866, 4.

     “Mlle. Parepa’s testimonial concert on Saturday night, at Irving Hall, was exceedingly well attended.  The lady has reason, we think, to feel gratified with a public that has so promptly recognized her talents.  The public, too, should feel thankful to Mr. Bateman, to whose enterprise we owe Mlle. Parepa.  But for the spirited management of this gentleman we should have been deprived of a series of concerts which have not wholly depended even on that favorite artiste.  This matter of “management,” however, plays the mischief with criticism.  It thrusts even cautious communities into extravagance of appreciation.  The slightest word of commendation is fanned into a flame of praise, and so, in the end, both artist and public are deceived.  We have certainly no desire to understate Mlle. Parepa’s ability.  It were ungracious, indeed, on the eve of her departure for Europe to do so.  But it is perfectly clear that her success has been obtained mainly by management, and that she herself has made but little effort worthy of remembrance.  She is not by any means the greatest artiste we have had in America.  As an executant she has often been surpassed.  So, too, in the mere range of her voice.  In warmth and color she is absolutely defective—singing a waltz or a cavatina with pretty much the same amount of feeling.  Her success has been obtained by power of voice, and by a command of ordinary vocal difficulties.  She never by any accident flags.  To sing to her utmost, and in the most exact time is easy to her, and the effect is irresistible.  For this reason her best successes have been in Arditi’s “Il Bacio,” which has immense “go” in it, and Beethoven’s “Ah! Perfido,” which requires the same quality, but in the shape of endurance.  On the other hand, her least meritorious efforts were those in which delicacy and taste were required.  It is the old story; voice, and a little more voice.  Mlle. Parepa has plenty of voice, and the public will be glad we are sure to hear that she returns to America in September next.  Mr. S. B. Mills, Mr. Theodore Thomas, Mr. Carl Rosa, Mr. S. C. Campbell, Mr. Edward Seguin, and Miss Maria Seguin took part in Saturday’s entertainment, the latter being accompanied on the piano by her mother, Mrs. Seguin.  The lady has a light soprano voice of pleasing quality, which has been trained skillfully and under admirable control.  Her debut was eminently successful.  Mr. Anschutz conducted in the orchestra, and Mr. Theo. Thomas with great civility led the violins.  It was under the latter gentleman’s bâton that Mlle. Parepa made her debut in America.”