Academy of Music
Manager / Director:
26 April 2013
Brief. “Academy of Music.—‘Lucrezia Borgia’ was given here last night to a poor house—the result probably of the fine attendance which was drawn to the Academy in the morning, when ‘Crispino è la Comare’ was performed. Mme. Poch appeared as the heroine and fully justified the expectations of her admirers. Her voice is large and agreeable; her method good, and her style eminently dramatic. The opera was given effectively, and the lady created a genuine furore.”
“The Opera of Lucrezia Borgia, was performed last night, to a novel house; that is a very select but rather small audience. It is presumed that the elite were fortifying themselves against the delirious dissipations of to-night’s Bal d’Opera. Senorita Carmelina Poch has a fine dramatic conception of the character of Lucrezia, and interprets it earnestly and forcibly. She is an excellent artist, in the ensemble pieces, especially her voice trills out with marked effect. She was frequently applauded and called before the curtain. Signor Irfre, Antonucci and others made up a very efficient cast.”
“The experiment of a Wednesday matinée at the Academy was entirely successful, the house being nearly as much crowded as at the usual Saturday matinées.
This may have been partly due to the fact that many of the ladies preferred going in the afternoon rather than in the evening, so as to save themselves for the grand Bal d’Opera last night. At all events the Academy was by no means full on Wednesday evening although the attractions were certainly sufficient. The audience, however, though not large, was really a select and critical one. The part of Lucrezia was admirably represented by Senorita Carmelina Poch, who possesses a voice of great richness, breadth and volume, with a power of execution absolutely necessary in an opera requiring as much dramatic action as almost any ever placed upon the stage. Irfre sang Genaio with spirit and feeling. In the concerted pieces, his smooth voice blended in a manner that we could sometimes desire of Mazzoleni in similar situations. In Orsini Mlle. Adelaide Phillips had a better opportunity than before to delight us with her mellow musical tones, her finished vocalization, perfect action, and graceful form. Even those who have listened to Alboni, Didier and d’Angri in this part, thought that the ‘Brindisi’ was never rendered with more grace and abandon. It brought an enthusiastic and well deserved encore. The choruses were well performed, especially the ‘malediction scene’ in the finale to the first act.”