[Met Concert/Gala] CID:16470
Thirteenth Grand Sunday Night Concert. Metropolitan Opera House: 02/16/1896.

(Reviews)


Metropolitan Opera House
February 16, 1896


THIRTEENTH GRAND SUNDAY NIGHT CONCERT

Tannhäuser: Overture

La Juive: Si la rigueur
Pol Plançon

La Gioconda: Voce di donna
Anton Rubinstein: Der Asra
Traditional: The Minstrel Boy (encore)
Eugenia Mantelli

L'Africaine: O paradiso!
Giuseppe Cremonini

Arthur Goring Thomas: Time's Garden
Arthur Goring Thomas: Une nuit de mai
Marie Brema
Max Droge, cello

Die Lustigen Weiber von Windsor: Nun eilt herbei
Lola Beeth

Ernest Gillet: Loin du Bal

Alphons Czibulka: Love's Dream After the Ball

David: La Perle du Brésil: Charmant oiseau (last part repeated)
Emma Calvé
Otto Stöckert, flute

Bach/Gounod: Ave Maria
Emma Calvé
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)
Pol Plançon

Mefistofele: Cavaliero illustre e saggio (repeated)
Emma Calvé
Eugenia Mantelli
Giuseppe Cremonini
Pol Plançon

Moritz Moszkowski: Laurin: March of the Dwarfs

Conductor...............Anton Seidl
Piano...................Amherst Webber

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."



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