[Met Concert or Gala] CID:2480



Gala Performance
Metropolitan Opera House, Mon, April 21, 1884




Gala Performance



William Tell: Overture

Lucrezia Borgia: Act II Excerpt
Lucrezia................Emmy Fursch-Madi
Duca Alfonso............Franco Novara

[Note: Italo Campanini was listed in the program for this selection but did not sing]


Il Trovatore: Act III, Scene 2
Leonora.................Grace Goldini [Last appearance]
Manrico.................Roberto Stagno [Last appearance]
Ruiz....................Amadeo Grazzi [Last appearance]


Il Barbiere di Siviglia: Act II
Figaro..................Giuseppe Del Puente
Rosina..................Marcella Sembrich
Count Almaviva..........Victor Capoul
Dr. Bartolo.............Baldassare Corsini [Last appearance]
Don Basilio.............Giovanni Mirabella [Last appearance]

Director................Mr. Abbiati
Director................Mr. Corani
Set designer............Charles Fox, Jr.
Set designer............William Schaeffer
Set designer............Gaspar Maeder
Set designer............Mr. Thompson
Costume designer........Henry Dazien
Costume designer........D. Ascoli

[Note: In the Lesson Scene, which concluded with the "La testa vi gira" quintet, Mme. Sembrich sang Proch's "Air and Variations" and the Russian National Anthem]


Aida: Act II, Scene 2 Excerpt
Aida....................Emmy Fursch-Madi
Amneris.................Zelia Trebelli [Last appearance]
Radames.................Italo Campanini
Amonasro................Giuseppe Kaschmann

De Beriot: Concerto No. 7: Adagio and Rondo Finale
Marcella Sembrich, Violin

Chopin: Waltz in C sharp minor (encore)
Marcella Sembrich, Piano

La Sonnambula: Ah non giunge (encore)
Marcella Sembrich


Dinorah: Overture and Chorus

Bach/Gounod: Ave Maria
Christine Nilsson
Marcella Sembrich, Violin
Auguste Vianesi, Piano
Italo Azzoni, Harmonium

Les Huguenots: Act IV
Raoul...................Italo Campanini
Valentine...............Christine Nilsson [Last appearance]
Nevers..................Giuseppe Del Puente
Saint Bris..............Giuseppe Kaschmann

Director................Mr. Corani
Director................Mr. Abbiati
Costume designer........D. Ascoli
Costume designer........Henry Dazian


The Merchant of Venice: Act IV Trial Scene (Shakespeare)
Antonio.................T. Wenman [Only appearance]
Portia..................Ellen Terry [Only appearance]
Shylock.................Henry Irving [Only appearance]
Duke....................H. Howe [Only appearance]
Bassanio................W. Terris [Only appearance]
Gratiano................F. Tyars [Only appearance]
Nerissa.................Miss Payne [Only appearance]
Salanio.................Mr. Lyndall [Only appearance]
Salarino................Mr. Harbury [Only appearance]
Clerk...................Mr. Louther [Only appearance]

Director................H.J. Loveday [Only appearance]


Farewell: Grand Ballet Divertissement (Mascheroni)
Dance...................Malvina Cavalazzi
Choreographer...........Luigi Danesi

[Note: Music arranged by Mr. Vianesi from Mascheroni and danced by Mme. Cavalazzi and the Corps de Ballet]


Conductor...............Auguste Vianesi
Conductor...............Cleofante Campanini [Last appearance]









Review 1:

Review in The New York Times :

MR. ABBEY'S BENEFIT

The testimonial benefit to Mr. Henry E. Abbey at the Metropolitan Opera House last night was attended by a large and brilliant audience, among which were many persons of note in theatrical, musical, literary, and financial circles. A spirit of enthusiasm was present during the entire evening, and the various performers who contributed their services were received with abundant demonstrations of affectionate regard. The entertainment was a long one, and, though pushed through with some celerity, did not conclude until a late hour. Signor Campanini did not appear in the excerpt from "Lucrezia Borgia," but was heard later in a selection from "Aida," where his artistic method and impassioned acting aroused a storm of applause. Mme. Sembrich carried off a large share of the evening's honors. Her singing of Proch's air and variations in the lesson scene of "Il Barbiere" was admirable for smoothness and ease of execution. She was twice interrupted by applause in the staccato passage and made to return to the beginning. Subsequently she made her first appearance as a violinist, playing the adagio and finale from De Beriot's seventh concerto. Her playing was a surprise. She possesses a delightfully clear and sweet tone, her stopping is accurate, and her bowing strong. Above all, she plays with the sentiment of an artist. A storm of applause followed her performance, and for an encore she played, on the piano, Chopin's waltz in C sharp minor, proving herself to be also an accomplished pianist. Again recalled, she came before the curtain, sang once more, and retired laden with flowers. She appeared with her violin once more, when she played the obligato to the Bach-Gounod "Ave Maria," which was sung beautifully by Mme. Nilsson. In the fourth act of "Gli Ugonotti" Mme. Nilsson appeared a second time, singing with splendid power, and was received by the audience with almost unbounded delight. Signor Stagno exhibited his high C in the "Di quella pira," and all the other principal artists, except Mme. Scalchi, were heard to advantage in the course of the evening. Mr. Henry Irving, Miss Ellen Terry, and the Lyceum company appeared in the trial scene of the "Merchant of Venice," and Mme. Cavalazzi and the corps de ballet concluded the entertainment with a graceful divertissement. Mr. Abbey was, unfortunately, ill and unable to answer the loud calls for him. No estimate of the receipts could be obtained last night, but the figures will shortly be given in detail.



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