[Met Performance] CID:10260
Il Trovatore {16} Metropolitan Opera House: 12/16/1891.

(Review)


Metropolitan Opera House
December 16, 1891


IL TROVATORE {16}
Giuseppe Verdi--Salvatore Cammarano

Manrico.................Paul Kalisch
Leonora.................Lilli Lehmann
Count Di Luna...........Eduardo Camera
Azucena.................Giulia Ravogli
Ferrando................Antonio De Vaschetti
Ines....................Mathilde Bauermeister
Ruiz....................Antonio Rinaldini
Gypsy...................Giuseppe Cernusco

Conductor...............Auguste Vianesi

Director................Theodore Habelmann
Set Designer............Charles Fox, Jr.
Set Designer............William Schaeffer
Set Designer............Gaspar Maeder
Set Designer............Mr. Thompson
Costume Designer........D. Ascoli
Costume Designer........Henry Dazian

Paul Kalisch repeated "Di quella pira"

Il Trovatore received two performances this season.

Unsigned review in The New York Times

METROPOLITAN OPERA HOUSE.

The second night of the Abbey and Grau season of opera in Italian and French was devoted to a performance of Verdi's "Il Trovatore," an opera which tradition says is very popular. The plain truth, however, is that this work never draws a large house, except with an uncommonly strong cast, and no cast is generally accepted as strong which does not contain a tenor robusto of much ability. Mr. Kalisch, who was the Manrico of last evening, is well known in this city, and the public is thoroughly acquainted with the fact that his voice is not of uncommon richness or power. No one ever suspected him of possessing a high C, and, though that note is not in the score, custom has sanctioned its introduction to such an extent that its omission is usually regarded as a disappointment. Mr. Kalisch sang a C, but it was not one of much brilliancy. He sang a good deal of his music with taste and judgment. His "Deserto sulla terra" being phrased excellently and his "Ah, si ben mio" being delivered beautifully. He received four recalls after "Di quella pira" and had to repeat the air.

Liill Lehmann is always a great artist, and in Leonora she fairly sustained her great reputation. Many of her New York admirers may not know that she was formerly a colorature singer, but surely all must have discerned last night that the delivery of ornamental passages was no new undertaking to the prima donna. This singer, however, is always powerfully dramatic, and it was the dramatic music of Verdi's heroine that received from her the most effective treatment. She sang with fine breadth of style and abundant force, and throughout the evening she interested her hearers more than any singer who has appeared as Leonora in many years. She was warmly welcomed and received a double recall after her first scene.

The only important debut made last night was that of Giulia Ravogli, a contralto who was very successful in London. She appeared in the popular rôle of Amneris. She is a slight woman and does not possess a voice of great power, nor is her lower register one of such power as this public is accustomed to hear from its favorite contraltos. She sings with much taste, and with not a little dramatic feeling, but she created the impression last night that her vocal resources were not quite equal to her artistic design.

Sig. Camera, baritone, made his first appearance in the rôle of the Count di Luna. He has a good working voice, but be suffers from the old familiar trouble, tremolo. If it were not for this he would be an acceptable singer. Sig. Vaschetti contributed a conventional performance of Ferrando to the evening's pleasure. The chorus sang with spirit, but with an overabundance of power. The orchestra discharged its duties in a wholly creditable manner, and Sig. Vianesi conducted with skill.



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