[Met Performance] CID:2070
Lucia di Lammermoor {9} National Theater, Washington, D.C.: 02/26/1884.

(Review)


Washington, D.C.
National Theater
February 26, 1884


LUCIA DI LAMMERMOOR {9}

Lucia...................Marcella Sembrich
Edgardo.................Roberto Stagno
Enrico..................Giuseppe Kaschmann
Raimondo................Achille Augier
Normanno................Amadeo Grazzi
Alisa...................Imogene Forti
Arturo..................Vincenzo Fornaris

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

Review in the Washington Evening Star

THE NATIONAL

"Lucia" - The great triumph which Mme. Marcella Sembrich has won in New York and in the west was repeated last night before one of the most appreciative and enthusiastic audiences ever gathered within the walls of this theater. The opera gave full scope to the wonderful vocal and dramatic powers of the artist, and they were filled to the highest measure. Her first solo, "Regnava nel silenzio," ("Nature seemed wrapt in silence") was followed by a burst of applause which was intensified by the singing of "Quando rapito in estasi." ("Love wraps my soul in ecstasy") and a prolonged encore. The duet at the end of the first act, however, '"Verranno a te'sull aure," ("upon the breeze to thee") literally brought the audience to its feet. As the last notes died away they began a most enthusiastic demonstration. Men stood up and waved their handkerchiefs, and it was not until Mme. Sembrich was led before the curtain three times that quiet was restored. At the [beginning] of the second act, in the scene of the signing of the marriage contract, it was apparent that she was a fine actress as well as a fine songstress, displaying a brilliant dramatic power, which was heightened in the "mad scene" of the third act, while the audience listened as if spell-bound to the solo, "Oh, gioja che si sente," ("The joy that now inspires me") which was given with a flute obligato. Encore after encore followed, which was soon responded to by the solo of "Spargi d'amaro pianto," ("Oh, shed one tear of pity.") In this the artist seemed to excel herself. As she struck the pure high notes in the finale, the audience rose to a point of enthusiasm quite unparalleled here. There was a ringing burst of applause. The ladies again waved their scarves and handkerchiefs, threw their corsage bouquets on the stage while the gentlemen bursted their gloves and shouted. Even the musicians dropped their instruments, stood up in their seats, and cried "Bravo!" "Bravo!" Mme. Sembrich was called out four times after the first encore, and left the stage with her arms full of flowers, and her face radiant with smiles. It was some minutes before the applause subsided so that the act could go on. When the curtain came down at the close the audience slowly retired, full of expression on every hand of praise, many ardent admirers contending that there was no such voice on the operatic stage. It swept through the runs and trills with a sweetness and accuracy that left the hearers in a wonder of delicious delight. It is to be much regretted that Mme. Sembrich will not be heard again in Washington this season.



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