Less than a month after its inaugural concerts, the Chicago Orchestra was in the pit at the Auditorium Theatre for performances by the Metropolitan Opera Company (under the auspices of the Abbey-Grau Company) from November 9 until December 12, 1891. Conducting duties were shared by Auguste Vianesi and Louis Saar, the Orchestra’s first guest conductors.
The singers who appeared were among the most famous of the day, including sopranos Emma Albani, Lilli Lehmann, and Marie Van Zandt, and mezzo-soprano Sofia Scalchi. During the residency, several prominent singers made their U.S. debuts, including soprano Emma Eames, tenor Jean de Reszke, baritones Edoardo Camera and Jean Martapoura, and basses Edouard de Reszke and Jules Vinche. A staggering number of operas were performed, including Bellini’s Norma and La sonnambula; Flotow’s Martha; Gluck’s Orpheus and Eurydice; Gounod’s Faust and Romeo and Juliet; Mascagni’s Cavalleria rusticana; Meyerbeer’s Dinorah and Les Huguenots; Mozart’s Don Giovanni; Thomas’s Mignon; Verdi’s Aida, Rigoletto, and act 1 of La traviata; and Wagner’s Lohengrin. The residency also included the Metropolitan Opera Company’s first performance of Verdi’s Otello, on November 23.* The cast included Jean de Reszke in the title role, Albani as Desdemona, and Camera as Iago.
During Theodore Thomas’s tenure as music director, the Metropolitan returned in March 1894, March 1896, November 1898, and November 1899.
* There only had been four previous performances of Otello (all with tenor Francesco Tamagno, who had created the title role at La Scala on February 5, 1887) in Chicago, given under the auspices of Henry Abbey’s Grand Italian Opera Company on January 2 and 3, and March 12 and 14, 1890 (Abbey was not the official impresario at the Metropolitan that season). The Grand Italian Opera Company also gave three performances (also with Tamagno) at the Metropolitan Opera House in New York on March 24, 29, and April 4, 1890, while the resident German company was on tour.
This article also appears here.