[Met Tour] CID:2120



Faust
Academy of Music, Baltimore, Maryland, Sat, March 1, 1884


In Italian



Faust (15)
Charles Gounod | Jules Barbier/Michel Carré
Faust
Victor Capoul

Marguerite
Christine Nilsson

Méphistophélès
Franco Novara

Valentin
Giuseppe Kaschmann

Siebel
Louise Lablache

Marthe
Emily Lablache

Wagner
Ludovico Contini


Conductor
Auguste Vianesi





Franco Novara repeated Dio dell'or del mondo.

Review 1:

Review in unnamed Baltimore newspaper:

Nilsson's Grand Success at the Academy

"Faust" with Nilsson and Novara in the cast, was a very brilliant success last night. The finest audience since the Patti night, some weeks ago, was assembled in the Academy of Music, and was at times immensely enthusiastic. At the close of the third act the principal artists were recalled three times before the curtain, and when Nilsson at last appeared alone, the house rang with bravas. It is some years since Nilsson appeared in this city in opera. Since then she has gained somewhat in stateliness - queenliness, indeed - and is somewhat more reserved in her acting. But the witchery that she throws into every part that she personates is still the same, her voice has the same thrilling sweetness and she enchants her audiences now as ever. In the "Jewel Song" last night she sang with a playful girlish manner that seemed so pure and maidenly that it satisfied the utmost demand. No other artist ever got as much out of that scene as she does. She did not, however, make as much effect with the "King of Thule," or "Spinning Wheel" song as formerly. The aria in which she speaks of her little sister was exquisitely done. She stood awhile leaning one hand upon a rustic seat, in a pose that a sculptor might choose. In no moment of the evening did the tenderness and beauty of her voice appear to greater advantage. In her duets with Capoul she was always at a disadvantage, for, though the tenor kept well in tune, the quality of his voice does not blend will with hers.

Novara as Mephistopheles is as great as Nilsson in Margherita. In Boito's "Mefistofele" or Gounod's "Faust" he has wrought out a character picturesque, devilish, yet beautiful - a gay fiend, that sinners might go to when they are not too wicked. His voice was not last night in perfect condition; yet he sang always with such fire and grace as to leave little to be desired. The Beelzebub song in the second act was a great success and he was obliged to repeat part of it in response to the demand of the house.



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