Grau Havana Opera: Il trovatore

Advertises originally scheduled date of 05/03/66.

“‘Il Trovatore’ attracted quite a large audience, the desire being general to ascertain the merits of Mesdames Guidi and Polini, and moreover to prove time’s effect on Signor Musiani.

     The performance of that well known and popular opera was, in general, creditable in all parties concerned, except the chorus, which important feature in operatic performance was almost wholly bad, if the Anvil Chorus and some little bits are excepted by comparative merit.

    Madame Guidi, the Leonora on that occasion, has a somewhat limited mezzo-soprano, the upper notes lacking freedom and certainty when taken in full voice.  She has good stage presence, dramatic instinct and passion, is seemingly well versed in operatic movement, and capable of very effective execution, as proved in the first act.  There is, however, a lack of smoothness in her vocalization and clear delineation of light and shade to color the music intrusted to her. The ‘Miserere’ developed her worst faults, while the solo which preceded it and the following duets brought out the best qualifications she possesses for dramatic singing.

    We anticipated more sustained power than she exhibited in that opera, but under all circumstances freely concede her a place among prima donna who are equal to tragic opera. Mme. Polini impressed us in the role of Azucena most favorably, both as regards the fidelity of her presentment in a dramatic sense and in respect to her dealing with the difficulties which Verdi has strewn thickly over its score. She is endowed with pleasing appearance, excellent dramatic purpose, and a mezzo-soprano large in compass, of exceeding good quality and truth in utterance, her sole defect being a lack of sustained power in phrases that call for great intensity. We consider Mme. Polini a decided acquisition to any operatic company, and likely, if she remains here, to speedily win public favor even more decided than awaited her performance last evening.

    Signor Musiani betrayed in the Serenade and Miserere the sad effect of time upon his voice, and produced no sensation last evening until he struck—in falsetto—his vaunted high C, when repeating ‘Di quella pira,’ and then he did excite prolonged and inexorable applause, pushed to recall of the orchestra and raising the curtain.

    On his second attempt he touched that celebrated note in mixed tone near enough to chest to be mistaken for it by no musical hearers. His level singing lacked certainly smoothness and usually displayed a worn and faded voice pushed beyond its means.

    Signor Orlandini, as on Monday evening, obtained, in ‘Conte de Luna’s’ music and enactment of character instant recognition as the worthy successor of Badiali and Bellini, a grand dramatic baritone, endowed with a noble person, graceful and effective command of the stage a superb voice, and remarkable control of it for dramatic purpose. We have nothing to remark of him save in hearty commendation from the first scene to the last, and only name ‘Il Balen’ as proof that he is equally capable of high class vocalization, his every passage in concerted music showing the accomplished dramatic artist.”

“‘Il Trovatore’ was produced here last evening with several artists new to the public. Of the work itself it is unnecessary to speak. It is sufficiently well known. Mr. Grau gave it the recurrent importance of a new cast. In doing so he introduced to us several artists of positive merit. Mme. Noel-Guidi, the Leonora, possesses a voice of great purity and extent. She hesitated somewhat in the earliest opportunities of the opera, but the nervousness which occasioned this wore off rapidly, and subsequently she displayed the qualities of a well-informed and admirable artiste. Mlle. Casho [sic] Polini was the Azucena. She has a fine round mezzo-soprano voice, and uses it with judgment. The tenor was Signor Musiani, of whom we have written many times in these columns.  He still retains a firm voice and a bearing which is agreeable to every one.  The aria of the third act excited the public to the highest degree. Signor Musiani was twice called before the curtain, and this not sufficing, he had to sing Di quella pira once more. The same honor was done to Signor Orlandini, who sang Il balen better than we have heard it sung for many months.” 

 . . .  In Signora Noel Guidi, we got to know a talented dramatic singer with skill and a beautiful voice. Mme. Cash Polini possesses a wide vocal range with pleasant middle and lower tones. She is also a gifted actress and thus impressed in the first scenes of the second act with her expressive features and her lively acting. Musiani has improved much. His performance is more energetic and his voice has lost its characteristic harshness. Musiani is a tenor with a beautiful, strong voice of a significant range. However, we could do without his famous high C. These “vocal acrobatics” are not of value for the arts and for the connoisseurs thereof, and they damage the singer’s vocal apparatus. All in all, though, we consider his “Manrico” the best we have ever heard.
Orlandini was better than last time. This singer does not understand how to use his voice in a free and natural fashion. However, he did impress in some scenes. The performance of the opera including the orchestra was satisfactory.