[Met Concert/Gala] CID:16470
Thirteenth Grand Sunday Night Concert. Metropolitan Opera House: 02/16/1896.
Metropolitan Opera House
February 16, 1896
THIRTEENTH GRAND SUNDAY NIGHT CONCERT
La Juive: Si la rigueur
La Gioconda: Voce di donna
Anton Rubinstein: Der Asra
Traditional: The Minstrel Boy (encore)
L'Africaine: O paradiso!
Arthur Goring Thomas: Time's Garden
Arthur Goring Thomas: Une nuit de mai
Max Droge, cello
Die Lustigen Weiber von Windsor: Nun eilt herbei
Ernest Gillet: Loin du Bal
Alphons Czibulka: Love's Dream After the Ball
David: La Perle du Brésil: Charmant oiseau (last part repeated)
Otto Stöckert, flute
Bach/Gounod: Ave Maria
Carlos Hasselbrink, violin
John Cheshire, harp
Hänsel und Gretel: Dream Pantomime
Massenet: Hérodiade: Vision fugitive
Schumann: Les Deux Grenadiers (encore)
Jean-Baptiste Faure: Les rameaux (encore)
Mefistofele: Cavaliero illustre e saggio (repeated)
Moritz Moszkowski: Laurin: March of the Dwarfs
Although Armondo Seppilli was also listed in announcements, reviews suggest that only Anton Seidl conducted.
Unsigned review in The New York Times
GREAT RECEPTION FOR SINGERS
Calvé and Others Heard at the Last of Sunday Evening Concerts
Mme. Calvé was undoubtedly the main magnet that drew the great throng to the Metropolitan Opera House last night. It was the last of the series of Sunday evening concerts for the season, and besides Mme. Calvé the singers were M. Plançon, Mme. Mantelli, Signor Cremonini, Mme. Marie Brema, and Mlle. Lola Beeth. The full Metropolitan Opera House orchestra, under the direction of Anton Seidl, was also heard.
Seldom has the Opera House held a larger audience. All the seats were filled, and so were the boxes, and standing room was at a premium. On the ground floor men, women, and children were six deep standing behind the brass rail. It was a "hurrah" night from beginning to end. Singers were cheered and applauded until they tired of walking to the centre of the stage to bow their acknowledgments. There were rounds of applause also for the orchestra and about every person present seemed bent on showing his or her delight by vociferous demonstration. These singers, who are to join the rest of the company, were started out of New York on a wave of approval crowned with wreaths of laurel and decorated with heaping measures of posies.
Twelve numbers in all were down on the programme, but, with the demanded encores, at least thirty selections were heard. Mme. Calvé sang four solo selections and was heard, too, in the quartet from Boïto's "Mefistofele," with Mme. Mantelli. Signor Cremonini, and M. Plançon. The audience was not satisfied with one hearing of this quartet and demanded a repetition. There was a great furor when Mme. Calvé had finished singing the aria from David's "Le Perle de Bresil," given with a flute obligato. There were cheers, waving of handkerchiefs, and other demonstrations. She sang part of it a second time, and then gave Gounod's "Ave Maria."
All the expressions of approval and enthusiastic admiration were not bestowed upon Mme. Calvé alone, by any means. Each of the singers came in for a bounteous share. Plançon seemed to know just what his hearers wanted, when in his encores he gave the "Palms" and the "Grenadiers." So, too, with the rest. Each caught the popular spirit, and all were apparently stirred by the lavish display of appreciation that their work called forth.
Unsigned review in the New York Herald
FINAL OPERATIC CONCERT
The last of the Sunday night operatic concerts was given at the Metropolitan Opera House last evening, with Mmes. Calvé, Beeth, Brema and Mantelli, and Signor Cremonini and M. Plançon as the soloists. The opera chorus and orchestra were led by Mr. Seidl.
The house was most uncomfortably filled, the audience being the largest of any recent assemblage on a similar occasion, and as it was of the enthusiastic, good naturedly boisterous and stamping variety that gathers it the Opera House on Sunday night, it raised no end of noise and dust by its vociferous and frequent approbation of what pleased it.
Mme. Calvé was uproariously encored after her singing of the dainty "La Mysole," from "La Perle de Bresil," and scored the popular hit of the evening in Gounod's "Ave Maria." Mme. Beeth was almost equally successful in an aria from "The Merry Wives of Windsor," delightfully sung. Mme. Brema appealed strongly to the native element in a couple of Goring-Thomas ballads, and nearly brought down the house by singing as an encore number "The Minstrel Boy."
The manner in which the quartet from "Mefistofele" was given by Mmes. Calve and Manteill, Signor Cremonini and M. Plançpn was hardly creditable to these artists. It seemed more like a careless rehearsal than a serious public performance, and the singers, when not vocally employed, kept up such a running stream of talk among themselves that what might have been an agreeable quartet speedily degenerated into solos with a conversational accompaniment.
Mme. Mantelli sang admirably an aria from "Gioconda" and Rubinstein's "Der Asra." Signor Cremonini and M. Plançon also added pleasantly to the evening's programme, the latter giving the inevitable "Two Grenadiers"
The audience did not raise a hand after the superb orchestral work in the "Tannhäuser" overture, but went into raptures over the "Loin du Bal."