[Met Concert or Gala] CID:1120



First Grand Sunday Night Concert
Metropolitan Opera House, Sun, November 11, 1883




First Grand Sunday Night Concert



Metropolitan Opera House
November 11, 1883


FIRST GRAND SUNDAY NIGHT CONCERT

Der Freischütz: Overture

Die Zauberflöte: In diesen heil'gen Hallen
Franco Novara

Gli Ugonotti: Nobli signor
Louise Lablache

Le Roi de Lahore: Promesse de mon avenir
Giuseppe Kaschmann

Lucrezia Borgia: Brindisi
Zelia Trebelli

Don Giovanni: Il mio tesoro
Roberto Stagno

Der Freischütz: Leise leise
Emmy Fursch-Madi

Guiraud: Danse Persane

Massenet: Scènes Pittoresques

Guagni: Sospiri dell'anima
Giovanni Mirabella

Semiramide: Ah quel giorno
Sofia Scalchi

La Muette de Portici: Amis la matinée est belle
Victor Capoul

Mattei: Non è ver'
Mr. Cavazza, cornet

Un Ballo in Maschera: Eri tu
Giuseppe Del Puente

Mignon: Me voici dans son boudoir
Sofia Scalchi

Le Prophète: Coronation March

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

[For the final number, the Metropolitan Opera Orchestra combined forces with a military band, creating an ensemble of 110 instruments.]

There were twelve concerts this season.







For the final number, the Metropolitan Opera Orchestra combined forces with a military band, creating an ensemble of 110 instruments.
There were twelve concerts this season.

Review 1:

Review in The New York Times:

MR. ABBEY'S FIRST SUNDAY CONCERT

The first of a series of Sunday evening concerts was given at the Metropolitan Opera House last evening when a number of Mr. Abbey's company and the large orchestra, under the direction of Signor Vianesi, appeared. The audience way fairly large, in fact quite large considering what an uninviting night it was. The entertainment was a very pleasant one, and would probably have been enjoyed even more than it was had not certain unbalanced minds in the audience exhibited their hunger for encores to a wearisome degree. The performances of the large assembly of instrumentalists was disappointing in one respect. There was a lack of volume, which was caused either by the placing of the band on the stage, where acoustic conditions may have interfered with them, or from an inherent deficiency of tone. Whatever was the cause, the band's work was not what was expected, and all of those niceties of shading which have been noted in their operatic work were either lost or wholly absent. In supporting the singers their work was well performed. The vocal part of the programme was made up with a view of catching the fancy of a Sunday night audience, and in this it was wholly successful. Signor Novara sang an aria from the "Magic Flute" in a careful manner. Mlle. Louise Lablache was agreeable in her rendering of "Nobil Signor." Signor Kaschmann sang "O canto fior," from "Il Re di Lahore," with superb finish, and thoroughly deserved the burst of applause which followed his song. Trebelli's fine execution of the "Lucrezia Borgia" brindisi was pleasant to hear with the memory fresh in every hearer's mind of many dreadful assaults on this composition. Signor Stagno followed with "Il mio tesero," from "Don Giovanni." Mme. Fursch-Madi's rendering of the familiar " Piano, piano," from "Der Freischutz," was thoroughly good. Signor Del Puente gave a very pleasant interpretation of the romanza "Eri tu," from "Un Ballo in Maschera," while Signor Mirabella and M. Capoul were heard to advantage in their solos. Mme. Scalchi's fine voice and accomplished method were effective in the "Ah, quel giorno," from "Semiramide," and the "Non veder," from "Mignon." The orchestra played the overture to "Der Freischutz," Giraud's "Danse Persane," Massenet's "Scenes Pittoresques," and the march from "Le Prophète."



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