Grau Italian Opera: Dinorah

“Positively Last Week . . . [I]t is utterly impossible to extend [Dinorah] beyond the present week, as the company will have to leave for Philadelphia to open the Academy there next week.”

“Last night but three . . . Mr. Grau will endeavor to make arrangements for a second season to commence in January.”

“The unsatisfactory acting of Brignoli as Corentino has elicited no little comment. Ullman came out in a ponderous card, hinting at London and Paris contracts which would not be affected by the reception awarded to Corentino, and another semi-official announcement declares that Brignoli knew he was not adapted for the part, and only took it to oblige the amiable Grau. It is a pleasant thing to see operatic brethren dwell together in unity.” Also a section on contracts of Ristori and Titiens, who did not come to New York because of the war.

“[P]layed tonight for the last time. The work has met with its usual success in this City. . . . It was received with enthusiasm by one set of critics – with contempt by another. In the meantime the public has slowly warmed up to its beauties, and the ‘houses,’ in consequence, continue good. We shall be disappointed if ‘Dinorah’ does not become one of the most popular operas in the Italian repertoire. Its withdrawal is rendered necessary by the arrangements of the week.”

“’Dinorah’ last night appeared to pleased better than hitherto, and with a large portion of the opera going public is already a great favorite.”

     "Academy of Music.--Meyerbeer's opera of 'Dinorah' was given here last evening' to a house that might have been better in point of numbers, and warmer in point of comfort. The performance was an average one; the stage direction was anything but good. In the first act, an effigy of the Virgin persisted in toppling over; in the second, the bridge, instead of breaking with the weight of Dinorah, caved in on its own private account, and compelled the heroine to commit a deliberate act of felo de se. These things are inexcusable in a well regulated establishment."

“Last night ‘Dinorah’ was given for the fifth time. Many critics have stamped this late production of Meyerbeer a failure. It certainly lacks the elements of popularity. It is not that enchanting style of music that one can carry away with him in his head and whistle and hum at his leisure. It, however, like all Meyerbeer's music, bears study and improves upon acquaintance. There are themes and melodies that grow upon one and gain fresh charms upon every hearing. But what difference does it make to the patron who, in the midst of the beautiful ‘torrent trio,’ wonders aloud ‘why don't the dear little goat come out?’ or laughs at the poor fat girl in the chorus who always claps her hands at the wrong time! There was to be an acting goat (memories of Donetti's acting monkeys!), and an acting tenor, both of which were startling announcements; an invisible chorus — there is a smack of mystery in this that excites the curiosity of many, — a shadow song, still another incentive to curiosity, and an inundation. So what matters it, whether the music be good, bad or indifferent, or whether the opera be patronized from curiosity or appreciation if ‘Dinorah’ has certainly met with a very cold reception. The attendance has been, at some representations, quite large, and the house a paying one, but everything seems chilled and repulsive. The only applause is when Cordier sings the ‘Omhra leggera’ or Shadow song, but the exquisite romanza of Hoel in the third act met with no response. The beauties of the opera are concentrated in the orchestra; the ‘Sancta Maria’ or pardon chorus ; the ‘trio of the bell,’ the finale of the first act ; the ‘Shadow Song’ in the second, and the romanza of the baritone in the last act. The music of the last is beautifully descriptive of the grief and sorrow of the unfortunate lover, and Amodio's rendition is very effective.”