Maretzek Italian Opera: Il trovatore

“‘Trovatore’ has pretty nearly ceased to interest people of cultivated musical taste, but still has its armies of admirers, as was shown by the attendance at  the Academy last evening, when this hackneyed work was produced for the first time this season. The performance was extraordinarily good throughout, and was especially notable as regards the parts assumed by Madame Parepa-Rosa and Signor Pancani. The former simply sustained the reputation she has won in other operas. The latter created more than an ordinary sensation by his artistic interpretation of the music assigned to the part of Manrico. In marked contrast with his boisterous predecessor in this character, he avoided the making of ‘points’ where the opportunity would have been tempting to a less conscientious artist, and won deserved and enthusiastic applause by the display of his vocal powers in emergencies properly demanding it. The music of his part, as interpreted by him, was somewhat of a novelty to those who have only heard it sung by Mazzoleni.”

“Last night, the first performance this season of the eternal ‘Trovatore’ occurred, with Mme. PAREPA ROSA, Sig. PANCANI, Mme. TESTA and Sig. BELLINI in the principal rôles. VERDI has always shown himself, like the Russian satirist, ‘most happy when men were most ridiculous,’ and most at ease when surrounded by honors. ‘Il Trovatore’ is a pretty good example of the chief weakness of this musical melodramatist. And yet, say what we will about this weakness, VERDI has found his profit in it. There is no opera so certain to attract a crowd as the romantic succession of incidents and musical ‘sensations’ which, in the course of operatic events, was repeated for the several thousandth time (more or less) at the Academy of Music last evening. The audience was uncommonly enthusiastic over the familiar scenes and airs. Sig. PANCANI has not been heard yet with anything like the effect nor answered with the applause that marked his performance of Manrico. The house clamorously applauded ‘Ah! Si ben mio,’ that mild prelude to the fiery ‘Di quella pira’ while the ‘miserere’ of the prison scene, in which the chorus shared the honors with the same gentleman, and Madame PAREPA was rapturously redemanded. Indeed, being in possession of a tenor of such magnificent means, the declamatory music of Manrico was never more magnificently declaimed. Sig. BELLINI was heard to the best advantage, as usual, in Il Conte, and uttered with his customary ferver ‘Il balen’—that singularly amiable effusion to come from the lips of such an unscrupulous villain. Madame TESTA has always exhibited a marked combination of dramatic intelligence with the necessary vocalism in the rôle of Azucena, and it is needless to state was again most satisfactory in all the requirements of the character of the gypsy mother. Leonora is one of Madame ROSA’S most admirable impersonations. The familiar melodies, which age can never make sound otherwise than interesting, were heard with all of last year’s delight, and followed with all of last year’s interest.”

“The chief performances at the Academy since our last review have been the Rosina of Signorina Peralta, and Leonora of Madame Parepa, and the Manrico of the new tenor, Pancani . . . Signor Pancani justifies the emphasis of the welcome given him. He is a tenor robusto of decided ability and intelligence, with a heroic style to which to which our stage, within some years, has been almost a stranger. His voice has an excellent range and volume, and a quality best described as manly. We take it for granted that he will give us nothing but good performances.”

Signor Pancani successfully replaced Mazzoleni.