Bateman Inaugural Concert: 9th

Event Information

Venue(s):
Steinway Hall

Manager / Director:
H. L. [impressario] Bateman

Conductor(s):
Theodore Thomas [see also Thomas Orchestra]

Price: $1

Event Type:
Orchestral

Performance Forces:
Vocal

Record Information

Status:
Published

Last Updated:
7 December 2017

Performance Date(s) and Time(s)

10 Nov 1866, 12:00 PM

Program Details

This concert series is called "inaugural" because it constitutes the first performances at the new Steinway Hall.

Performers and/or Works Performed

2)
aka Sing, smile, sleep; Chantez, riez, dormez; Canti, ridi, dormi; Serenade; Berceuse
Composer(s): Gounod
Participants:  Carl Rosa;  Euphrosyne Parepa
3)
aka Ecstasy; Extase
Composer(s): Arditi
Participants:  Euphrosyne Parepa
4)
Composer(s): Ricci, Ricci
5)
Composer(s): Gordigiani
7)
Composer(s): Hatton
Text Author: Williams
Participants:  Pasquale Brignoli
8)
aka Figaro's aria
Composer(s): Rossini
Participants:  Pietro Ferranti
9)
aka Sei vendicata assai; Thou art avenged
Composer(s): Meyerbeer
Participants:  Signor Fortuna
10)
aka Fantasie on L’Africaine; Reminiscences of L'Africaine
Composer(s): Liszt
Participants:  Sebastian Bach Mills
11)
Composer(s): Mills
Participants:  Sebastian Bach Mills
12)
aka Fantasy caprice; Fantasia caprice
Composer(s): Vieuxtemps
Participants:  Carl Rosa
13)
Composer(s): Auber
Participants:  Thomas Orchestra
14)
Composer(s): Unknown composer
Participants:  Thomas Orchestra

Citations

1)
Advertisement: New York Herald, 06 November 1866, 7.

Includes program.

2)
Advertisement: New-York Times, 07 November 1866, 7.
3)
Announcement: New York Herald, 10 November 1866, 5.

Closing matinee.

4)
Advertisement: New-Yorker Staats-Zeitung und Herold, 10 November 1866.
5)
Announcement: New-York Times, 10 November 1866, 5.
6)
Announcement: New-York Daily Tribune, 10 November 1866, 5.
7)
Advertisement: New-Yorker Staats-Zeitung und Herold, 10 November 1866.
8)
Review: New York Herald, 11 November 1866, 5.

“Steinway Hall was crowded yesterday at noon on the occasion of the last matinee of the Bateman troupe. Madame Parepa sang Arditi’s new waltz, ‘L’Estasi.’ It is a glittering, showy affair, and like its predecessor, ‘Il Bacio,’ not remarkable in point of originality or even effective  brilliancy. Gounod’s beautiful serenade, which was sung with Mr. Rosa’s violin obligato and Mr. Hatton’s piano accompaniment, was a gem in execution and pure unaffected style. Mr. Hatton is an accompignature of rare merit.  His preluding, to which exception has been taken, is an additional proof of the fact. Any person possessing the least knowledge of music will acknowledge at once the necessity of a prelude to lead from the key in which the preceding piece has been played or sung to the subject immediately before the finish. Mr. Rosa’s Vieuxtemps’ Caprice was excellent.  This young artist is steadily gaining in the esteem of the public. Signor Brignoli sang ‘La mia Letitza’ and Good bye, Sweetheart.’ Ferranti is rather out of his element in the concert room. It is only in the opera that such a capital buffo singer can have scope for his demonstrative fun and humor.”

9)
Review: New-York Daily Tribune, 12 November 1866, 5.

“The admirable company engaged by Mr. Bateman gave their closing matinee at Steinway’s Hall on Saturday morning, to a large and delighted audience. We have so frequently noticed the excellence of the artists engaged that it would be but mere repetition to particularize their efforts. Parepa was in glorious voice, and sang with all that grace of manner and perfection of vocal finish which have won from all the acknowledgment of her supremacy as a concert singer. The other artists fully sustained their reputations, and the entire matinee was in all respects thoroughly enjoyable.

It is a source of sincere regret to all that these talented artists are compelled to leave us so soon. We had anticipated two weeks longer enjoyment, and are sadly disappointed at finding ourselves mistaken. But engagements contracted in advance had to be fulfilled, and Mr. Bateman is compelled to withdraw his company from New York, just as their merits had touched and thoroughly awakened the public interest and curiosity, and he had begun to reap the reward of his brilliant and costly enterprise. But as we cannot retain Parepa and her confreres, we commend them to our friends and readers throughout the country, as altogether the most complete and admirable concert troupe that has left New York in a dozen years, to delight with their talents and accomplishments the multitudes of our music-loving people, scattered over the face of the country.”