Grau Havana Opera: La traviata

Announces Grau’s arrival in the US; “As the Chicago season does not commence until the 15th of November, Mr. Grau will have a full month in New York with his leading artists, which he might employ profitably to himself, and certainly greatly to the gratification of the musical public here.  He might obtain a concert hall and give us the gems of the finest operas with his leading artists, who would be gladly welcomed by persons of musical taste and refinement at the present time, when the inferior singers at the opera now in progress have reduced the audiences to a condition of indifference about opera music altogether.”

“New operatic and dramatic arrangements—Large importation of foreign artists,” offers brief descriptions of each of the personnel of the Grau company (Mme Gazzaniga, Mme Noel Guidi, Signorina Boschetti, Marie Cietti, Musiani, Lotti, Mme Polini, Olga Olgini, Signor Brandini, Signor Fellini, Herr Miller [sic], Signor Pollini, Signor Sarti); Grau “feels satisfied that he can crush out such feeble competition as is at present opposed to him”; “there is a fair prospect of their services being required in New York long before the period fixed for their appearance here”

“Advices from Mr. Grau announces that that gentleman will shortly arrive from Europe.  He brings with him a strong force of artists for Chicago, Havana, and other opera-houses—importing no fewer than fifty persons.  A good proportion of these are chorus singers, second parts, tailors, painters, prompters, &c. The demands of these gentry in New-York render it almost impossible for a manager to give opera on any certain commercial basis.  Mr. Maretzek brought out a few chorus singers to protect himself, and Mr. Grau has done well to follow his example. The leading artists composing Mr. Grau’s troupe are as follows: Sopranos—Mme. Marietta Gazzaniga; Signora Noel Guidi, a young and rising dramatic artist; Signorina Buschetti [sic], called the Queen of the Margheritas; Mme. Moreo Cello [sic], recently in Mexico. Contraltos—Signora Cash [sic] Pollini; Mlle. Olga Olgini remarkable for her good looks. Tenors—Signor Musiani, Signor Anastasi, and Herr Lotti. Two of these artists are already known here; of the third we hear very flattering accounts. Baritones—Signor Branchini [sic], and Signor Fellini. Bassos—Signor Milleri, Signor Pollini, Signor Coletti, and Signor Sarti. A striking peculiarity of Mr. Grau’s company is, that most of the members composing it are young, and in the first flush of their career.”

Arrival in New York from Liverpool on steamer New York, Maurice Grau and twelve principal artists of the Roman Opera for US engagements.

“Manifesto from impresario Grau—His labors in Europe—His motives, plans and promises—Chicago to pronounce upon a troupe which is to appear in St. Louis, Havana and New York—Sketches of the artists—Novelties in the repertoire, &c.,” a letter from Grau offering commentary on prima donne sopranos Mme Marietta Gazzaniga, Signorina Boschetti, Signora Mareo Cicili; contraltos Signorini Olga Olgini, Signora Castra Polini Rosa [sic]; tenors Signor Musiani, Signor Anastasi, Signor Lotti, baritones Signor Brandini, Signor Fellini; basses Signor Milleri, Signor Pollini; and Signor Colletti [sic], and Signor Barti, a buffo basso; promises a chorus of 28 and an orchestra of 30 under Signor Nuno; highlights of the repertoire include Pacini’s Saffo, Verdi’s I Lombardi, and Rossini’s Semiramide and Guillaume Tell, as well as Meyerbeer’s L’Africaine, “now the great musical topic in Europe”

COMMENT: Boschetti created the role of Marguerite in Faust  at La Scala, in Naples, Rome, Genoa, and Trieste. Musiani is a tenore di forza.

“[W]e shall hear entirely new singers who have been tried before a critical audience and have not been found wanting.”

 “Mr. Grau’s Italian Opera season commenced last evening, at the Academy of Music, under rather unfavorable circumstances. The attendance was not very large, and severely critical—in most part disposed to expect a degree of excellence that should equal, if not excel, all precedent. We regret to say that such anticipations were not realized, for neither soprano nor tenor approached the high standard which that public had raised, and the baritone alone satisfied moderate expectation from operatic habitués. The performance of ‘La Traviata’ was, in general, very inferior to even moderate demands for high-class opera. Orchestra and chorus were only tolerable at their best, and too often faulty in the extreme, as if not well informed of their duty. Boschetti looks well, and has some idea of stage effect, but possesses very slight qualification for a prima donna beyond that endowment, either in voice, culture, or execution of the music given her to interpret. Her best points were made in the duets with Germont and Alfredo—in the last act. Signor Anastasi disappointed those who hoped for a sweet and effective tenore di grazia, as he was rarely audible and when heard in concerted music, not remarkably well in tune. Signor Orlandini afforded in the passages with Alfredo in ‘Di provenza’ high gratification, his really good baritone, pleasing style and good method cheering disconsolate amateurs in quest of new operatic sensation.”

 “Mr. Grau opened his season last evening with ‘La Traviata,’ an opera which, notwithstanding the sneers that have been sibilated against it, is yet the best emotional and vocal opera in the Italian or any other repertoire. The interest of such a revival can be found—by wearisome habitués and critics—only in the artists who take part in it. This was understood and amply provided for by Mr. Grau. The performance, although uneven in many general respects, was in particular instances good. In more important houses than the Academy of Music we have heard a far worse representation of Verdi’s well known work. The new artists were Mlle. Leonilda Boschetti, who appeared as Violetta, Signor Anastasi, who was the Alfredo, and Signor Orlandino, who was the Germont. The new artists created a favorable impression. They possess youth and the earnestness which belongs to that agreeable period of life.  Mlle. Boschetti’s voice is an acceptable soprano. It does not run to extremes, but is cultivated—in an executive point of view—and tolerably even in the registers. Last evening the lady appeared to be suffering from a temporary hoarseness, which increased as the performance advanced. But her ability was sufficiently demonstrated, and we look forward with pleasure to a better illustration of it. Signor Anastasi has a most persuasive voice—persuasive inasmuch as you do not take to it at first. It belongs to no particular class, but is adapted to that general range of opera with which the public is now so much infatuated. It belongs to no particular class, but is adapted to that general range of opera with which the public is now so much infatuated. Signor Anastasi—like the lady we have just named—is young and well favored. He sings freely and with a good style, which means that he has studied and knows how to profit by his studies. His voice is in every way pleasant, neither too sugary nor too harsh. The only tendency which we remarked of an unfavorable character was that to false intonation, but this, with a young artist and a new audience may be ascribed to nervousness. At all events, we have no doubt that Signor Anastasi will speedily become a favorite. Signor Orlandini, the baritone, has a good, equal, sympathetic voice. In quality it has rarely been surpassed; in quantity, often. When, however, we say that it was sufficient to fill the Academy of Music, and to warm up a somewhat cold audience to enthusiasm we have said sufficient. The effect of the entire performance was entirely favorable to Mr. Grau’s judgment. We have not indeed heard so good, even, and dramatic a performance of this opera for many months.”

“Mr. Grau’s supplementary opera season opened last night . . . Considering the extraordinary length of the past opera season, and the fact that so many of the regular attendants at the Academy have left the city, there was a very good house.  Those, however, who remained at home, for fear that it would not be exactly the thing to appear in public at this time of the season, may be interested to know that the private boxes were unusually well filled with their regular occupants. The audience was a critical one, but quick to recognize the merits of each artist.

    The opera, although sometimes condemned as light and trivial by the ‘profound school,’ deserves the real popularity it has always had. The first act especially abounds in beautiful emotional passages, and gave a fine opportunity for the display of the vocalization of Mlle. Boschetti and Signor Anastasi. The former was evidently not in perfect voice, although this only appeared in a certain range, above or below which she seemed to have no difficulty, but she won—from the start—first the good opinion and then the enthusiastic applause of the audience, which, in some instances, was prolonged injudiciously.  Her personation of the part of Violetta was excellent throughout.  Signor Anastasi was equally successful.  He has an almost perfect tenor voice, of remarkable sweetness and purity and under complete control.  His execution is thoroughly artistic, and free from some of the faults that have marred the performances of some other leading tenors who have appeared here during the last year. Signor Orlandini made an excellent impression, and was warmly encored.

    The orchestra, under Signor Muzio’s able direction, performed its part well. We thought that sometimes it was too heavy for the chorus. The chorus was fair.

    Altogether, Mr. Grau may congratulate himself on the success he met with last night. It is rare, indeed, that a better reception has been accorded to the leading artists of a new troupe than was last night [illeg.] given.”

(…) Of the new singers, the tenor Salvador Anastasi was the best last night. His pleasant, almost sensual voice was quite insinuating for the audience despite some flaws in his technique. Already in the first act already, the audience took to him with increasing enthusiasm in the second. Leonida Boschetti is talented and performed her role well. Despite the mismanaged “vocal frills” of the grand duet and the aria in the first act, the audience took it with a sense of humor and received her enthusiastically. Signor Orlandini was either indisposed or his voice did not fit the role. The conductor Muzio is said to be the best director for Verdi’s works; however, although conducted with attentiveness last night, he was lacking liveliness and fire. All in all, the performance was much better than expected. This does not mean, however, that improvement is not necessary. The chorus clearly needs work and more members.

Boschetti has a pleasant appearance; however, her voice is not very pretty and lacks the high notes. Nevertheless she is an excellent actress and knows how to effectively cover up her shortcomings. The tenor Anastasi has a fine voice and pleased the audience more than his ‘Traviata’. The young man is still a little stiff and insecure; however, he clearly has potential for an excellent lyrical tenor. The baritone Orlandini has some issues with bringing out the ‘color’ of his voice. All together the performance of the opera was much better than expected. The orchestra was lead by Muzio as usual.