The New York herald., 1873-10-02
Am s E M ENTs.
Italian Opera Brilliant Success OF Cam
Paninf, Maresi and Nanetti-Miss
Cary's Reappearance.


Panini, Maresi and Nanettl-SIiss
Cary's Reappearance.
When eight O'Clock arrived last evening the
Academy OF Music did not look as though
an audience remarkable for brilliancy and
numbers intended to be present ANY
misgivings which might have been enter
tanned. however, were speedily dissipated.
BY the time the overture to "Lucreza Borgian
was over almost every seat was occupied, and the
usual space devoted to standees was monopolized.
The occasion, as perhaps 1t is unnecessary to ex.
plain, was the debut In America Of Signor Campa-
MINI as Gennaro OF Mile. Maresl as LucreMa and
or Signor Nannetti as Alphonso, and the reappear-
OF Miss Cary as Mareo Orsni. A somewhat
minute dissection OF the capabilities or these
singers will be found further on The point to
which We desire to refer present is the fact that
just such an operatic importation OF youth has
been made by Mr.. Strakosch as was most needed
at this time. We respect the kindness OF heart
which can continue TO lavish applause
upon singer long after his voice has
deserted him. The lault Is one
OF those which lean SO much to
virtues side as to catch considerable degree o.
virtues radiance. But at the same time we SYM
pathize with the debutant Of genius who stands
ready to appropriate the roles which in hands that
have lost their pristine power threaten to
become the ghosts or their former selves.
This is the Kind OF work which, II the prom
se Of last night is fulnlled signor Campanini is
waiting and is qualified to perform. He is young; ;
he mas a fine presence nature has given him
magnificent organ, which art has already done
much to perfect, and, nnally he evinces something
ceptfon or sympathetic acting. London was his
first step to reputation. New York will be
last night night was shared by Mile Maresi, aa and this
circumstance entities her to the order OF con-
graduation we have bestowed upon CampaninL
Signor Nannett completes the trio, TO whom youth
and merit justify us In being particularly cordial.
For OF Miss Cary In this connection it is scarcely
few years which she has sung In this country
permit her TO be, and the brill ancy with which she
last evening emphasized her temperance only
point by no means undeserving OF notice that
'Lucrezia Borgia" was placed upon the stage much
more creditably than "La Travlata.n There was
cOmmendabe freshness in one or two OF the scenes,
and the dresses were less tinselled more pictur
esqne ana less conventional Ion than they & nave been
is, therefore, to be pronounced success In every
way. II was accompanied with enough flowers
and encores to 1endwings to the ambition of the
most aspiring singer.
Alter these few words OF preparatory compll-
ment and explanation we may make much closer
and more minute examination OF their merits as
artists. "Lucrezia Borgia," while exhibiting many
OF the worst defects OF the puerle sensationalism
strong points," SO to speak, by which the darkness
OF this episode In the blood-stained history OF
the strongest and most dramatic numbers are
placed side by side with the weakest that may be
found in the whole range OF the Italian school.
After the commonplace chorus that greets the
audience at the rise OF the curtain Miss Cary
orsni furnished the first vocal treat OF the even.
ing,a very pleasurable indication OF the menu OF
rarties prepared for the occasion by Mr. Srakosch.
This was the profession OF devotion to Gennaro,
expressed IN the romanza man ~ or IT. contralto "Nea
those who admired, a couple or seasons ago,
her pure, cultivated, equally y-palanced and
which she declaimed the words, "Fuggite Borga,
Giovanni" This was the first pleasurable sur
prise ass s ana SERVED az good
and prlma dOnna-we name them in the order
Of merit. Madame Maresi (Lucrezia Borgia) was
the next claimant for the surrages OF the public.
The first five notes she sang, while contemplating
the sleeping Gennaro "Tranquillo ei posa." gave
ring in It that characterzes the I'd 'dramatica pi
prima donna. The succeeding recitattve be-
ased Of method ,o in this the
The aria, .'Com Bello" was deliciously sung, and
confirmed the favorable impression OF the purity
were evidences OF want or equality in
color OF tone between the medium and head
than the exquisite finish OF the execution OF the
norid measures with which DOniZetti adorns the
latter part OF the Cabaletta After this came a
genuine triumph Tor another artist
The great attraction or the evening. both in an
ticipaUion and actual ulnlment, was, OF course the
new tenor, Sgnor ltalo Campanini whose praises
have long ago filed the Scala and Drury Lane.
When the lovc-s:rlcken Borgia awakens him and
coaxes from him the story Of his lile and until the
first accents OF the standard Iavorite ..Di Pesca.
tore Ignobile,n were heard the house was still as
death. As he proceeded with the touching narra-
tive and the beauties OF his voice gradually became
developed the conviction OF his greatness as an
artist grew upon bis hearers From the lowest note,
+, to the highest fat In alt, there not break
in the autommy OF the velvety voice. "Une roir
de UelOurs ~ as we heard on one memorable
evening at Her Majesty's Theatre, London at the
debut or Signor Giuglini In 1885, in the same role
was the expression applied to the exquisite organ
that lent a new charm to the sweet Donizettian
aria last evening. For the first time In many
years at the Academy OF Music was heard tenor
who could produce dtnlfneterado or c7escendo in
the highest al peho notes with ease and effect. In
the succeeding denunciation OF the historic pois.
oner by Orsinl and his companions an effectively
constructed specimen OF concerted music, there
was some reprehensibe carelessness shown by the
chorus in one or two measures
In the second act another debutant made his
bow, sienor Nannett sll. !Alionsol. large, well
brought into reanlstlon II the 6ne aria .vienl Ia
mia vendetta and IN the inevitable casaletta
vocal themes.
The great scene OF the opera, IN which the jeal-
Ousy OF Alfonso, the struggle between guilty love
aud marital fear IN Lucrezia's bosom and the
manly pride OF Gennaro, are so vividly photo
graphed BY the composer, was given in style that
would have been sufficient to the
opera had everything else been worth.
less. OF course we missed those grand
moments OF Grisi or Titens in the broken ac.
cents OF the crime-laden daughter OF the Borgas;
but the fresh young voice OF Maresi made amends,
to great extent, Tor the lack Of dramatic power.
Still at times she breathed the sacred fire in
the passionate accents Of the ''Oh a te bada,r
IN which the tiger-like nature of the Borglas
breaks forth. When Gennaro is brought In and is
addressed with hypocritical accents OF friendship
by Alfonso in the aria ''Dea Duchessa prieghi,n
memories OF Susni and Berett were brought back
in the rich, thrilling tones OF hannetti. Then ol-
lowed the magnificent trio, OF the finest
thoughts OF Donizett in which the tragic elements
OF the opera are concentrated and hmned with q
Dore luTidness.
Here Campani nj rose to pitch OF vocal grandeur
that amply fulfilled expectation. Every note was
fun Of intense expression and mingling with
sympathetic voice oil Maresi, the trio
was an operate gem, without q naw,
in the rendering. The ringing tones
OF the tenor even in the prolonged nat in alt, In
the succeeding duet with LucreZia, satisfied every
body OF the justice OF the claims OF Campanini as
tenor of exceptional calibre.
Miss Cary in the last act made one OF the hap