Grau Italian Opera: Il trovatore

Event Information

Venue(s):
Academy of Music

Manager / Director:
Jacob Grau

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
17 July 2013

Performance Date(s) and Time(s)

05 Dec 1862, Evening

Program Details

Grau Italian Opera
13th Night

Favorite was originally scheduled, but Brignoli was ill and Trovatore was substituted.

Performers and/or Works Performed

1)
aka Troubadour
Composer(s): Verdi
Text Author: Cammarano
Participants:  Grau Havana Opera Company;  Catarina Morensi (role: Azucena);  Ginerva Guerrabella (role: Leonora);  Federico Amodio (role: Count di Luna);  Alessandro Maccaferri (role: Manrico)

Citations

1)
Announcement: New-York Times, 04 December 1862, 5.
Announces repeat of Traviata.
2)
Advertisement: Courrier des √Čtats-Unis, 05 December 1862.
Cast for La Favorite.
3)
Announcement: Courrier des √Čtats-Unis, 05 December 1862.
Announcement for La Favorite.
4)
Advertisement: New-York Times, 05 December 1862, 7.
Announces La Favorite.
5)
Announcement: New-York Times, 05 December 1862, 5.
Announces La Favorite.
6)
Advertisement: New York Herald, 05 December 1862, 7.
7)
Review: New York Herald, 06 December 1862, 5.

     “’La Favorita’ had been announced as the opera for last night, and, spite of a state of weather most inimical to any going out of doors, quite a number of the determined lovers of music assembled in the Academy to enjoy a repetition of last Wednesday's great success. But disappointment awaited the hardy opera goers we have referred to. Brignoli was indisposed, and perforce, the management gave a change of performance, and having, fortunately, Signor Maccaferri to come to the rescue in an hour of need, Manager Grau was enabled to offer instead of 'La Favorita' another great favorite with his patrons--'Il Trovatore.' Guerrabella appears to great advantage in the role of Leonora, while Morensi's most effective rendering of the role of Azucena we have before spoken at length. Amodio, as the Count di Luna, has a most effective role, one suiting his voice and in which he appears to great advantage. The efforts of Maccaferri in a part he was called to fill at a moment's notice were entitled to much praise. He has a fine voice, and would be more effective did he not exert a little too much energy in acting his role. He, of course, labored under great disadvantages, having been accustomed, as we are to Signor Brignoli's Manrico; but we must award to last night's representative of the role praise both for his singing and acting.

      At the end of the third act the cabaletta was given with great force and energy by Maccaferri, who, three different times, gave clearly and purely the ‘C sharp,’ which has caused for Tamberlik a world-wide reputation. Maccaferri was encored, and at the fall of the curtain was called out. We must caution this artist against his excessive show of energy; it mars the effect of his singing. Too much acting is as bad as too little. Decidedly, the Manrico of Signor Maccaferri was a hit.

      The ‘miserere’ was finely sung by him and justly encored.

      Guerrabella, who was in fine voice, was heard to advantage. We are impressed with the fact that ‘Leonora’ is one of her best roles.”

8)
Review: New York Post, 07 December 1862, 4.

     “At the Academy of Music, ’Trovatore’ was performed instead of ‘Favorita’ in consequence of the illness of Brignoli. Maccaferri took the part of ‘Maurice,’ [sic] and sang with tremendous energy. In the di quella pira he took the high C, amid the hearty plaudits of the audience and orchestra, and indeed made so highly favorable an impression in that and the Miserere scene, that it is safe to date Brignoli’s speedy convalescence from that moment.  Guerrabella, Morcusi [sic] and Amodio, sustained the other parts with accustomed ability.”