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The advance notice for the November 9, 1891, performance of Lohengrin included the names of producers, principal singers, conductor, and stage manager, but not the accompanying orchestra.
Following the third subscription week of its first season, the Chicago Orchestra was in the pit of the Auditorium Theatre for performances by the Metropolitan Opera Company from November 9 until December 12, 1891, including three run-out performances at the Amphitheatre Auditorium in Louisville, Kentucky, on December 7 and 8.
The first opera given was Wagner’s Lohengrin—sung in Italian—led by Auguste Vianesi, the Orchestra’s first guest conductor. That performance featured no less than five singers making their U.S. debuts: soprano Emma Eames, mezzo-soprano Giulia Ravogli, baritone Antonio Magini-Coletti, and tenor and bass brothers Jean and Édouard de Reszke.
On November 10, 1891, the Chicago Daily Tribune reported that even though several patrons were late in arriving due to “the fact that carriages approached in single file and the process of unloading was rather slow . . . [they] failed to dismay Sig. Vianesi, who began his calisthenic exercise with the baton promptly at eight. Eighty-five musicians of the Chicago Orchestra played the graceful Lohengrin prelude in a style which in the show-bill style was ‘alone worth the price of admission.’”
Wood engraved print by Fred Pegram of Jean and Edouard de Reszke—as Lohengrin and Heinrich—from The Illustrated London News in 1891
In the title role, Jean de Reszke “has the dignity and aplomb of an artist to the manner born and the glittering armor of the Knight of the Grail becomes him well. . . . [He] is an artist to the tips of his mailed boots and gloves. He has immense personal magnetism, and when he casually conveyed to Elsa the information, ‘Io t’amo,’ there was a responsive thrill under many a pretty corsage bouquet.”
“Her voice is one of beauty, and she uses it in a manner that shows great care and study in the training of it,” continued the reviewer in describing Emma Eames. “Here is a classic beauty, and a more charming picture than she presented when clothed in the wedding robes of Elsa has rarely been seen upon any stage.”
On November 14, the New York Times reported from Chicago. “It was though reason for not a little regret both in New York and this city when it was announced that the management of the Metropolitan Opera House, which in a measure seems to control the operatic destiny of the country, had decided to discontinue German opera this year and to substitute therefore Italian opera. By selecting Lohengrin as the opera with which to open the present season, Messrs. Abbey and Grau made a praiseworthy compromise. All fears that the season would be composed of a series of repetitious of hackneyed Italian operas were thus allayed. It is too early to pass any judgment, but, according to the indications to be found in this week’s performances, it is almost safe to assume that in many respects this year will witness some of the most brilliant performances of grand opera ever given in this country.”
Regarding Édouard de Reszke as Heinrich, the Times continued, that he was “endowed with a voice which for power and quality, richness and warmth, range and volume, has seldom been equaled. He displayed the highest art in the use of it. His acting also was artistic, and dignified, and his impersonation was in every respect a regal one.” As Ortrud, Giulia Ravogli, “displayed histrionic ability of an exceptionally high order and a mezzo-soprano voice of extensive compass and considerable power.”
Additional singers who appeared during the residency were among the most famous of the day, including sopranos Emma Albani, Lilli Lehmann and Marie Van Zandt; mezzo-soprano Sofia Scalchi; tenor Fernando Valero; baritones Edoardo Camera and Jean Martapoura; and bass Jules Vinché. 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; and Verdi’s Aida, Otello and Rigoletto.
The final offering of the month-long residency on December 12 was a fourth performance of Lohengrin, and changes in the cast included Valero in the title role, Albani as Elsa, and Vinché as Heinrich; Louis Saar conducted. Two days later on December 14, the company was back in New York for the Metropolitan Opera’s season opening: Gounod’s Romeo and Juliet featuring Eames and the de Reske brothers with Vianesi on the podium.
After two run-out performances on December 15 (at the Odeon in Cincinnati) and 16 (in Indianapolis), founder and first music director Theodore Thomas and his Chicago Orchestra resumed the regular season with the fourth subscription week at the Auditorium on December 18.
Susanna Mälkki leads the Chicago Symphony Orchestra in Wagner’s Prelude to Lohengrin on March 21, 23, and 24, 2024.
This article also appears here, and an abbreviated version appears in the program book.
Advertisement for Verdi’s Aida with the Metropolitan Opera and the (uncredited) Chicago Orchestra on December 10, 1891 (image courtesy of the Newberry Library)
Less than a month after its inaugural concerts in October 1891, the Chicago Orchestra was in the pit at the Auditorium Theatre for performances with the Metropolitan Opera Company (under the auspices of Abbey, Schoeffel, and Grau).
The singers who appeared were among the most famous of the day, including sopranos Emma Albani, Lilli Lehmann, and Marie Van Zandt and mezzo-sopranos Sofia Scalchi and Giulia Ravogli. During the residency, other prominent singers made their U.S. debuts, including soprano Emma Eames; tenor Jean de Reszke; baritones Edoardo Camera, Antonio Magini-Coletti, and Jean Martapoura; and basses Édouard de Reszke and Jules Vinche. Conducting duties were shared by Auguste Vianesi and Louis Saar, the Orchestra’s first guest conductors.
Opening with Wagner’s Lohengrin on November 9, the residency continued through December 12 and included a staggering number of operas: 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; as well as Verdi’s Rigoletto and act 1 of La traviata.
The residency also included a single performance of Verdi’s Aida on December 10 with Lehmann in the title role, de Reszke as Radamès, Ravogli as Amneris, Magini-Coletti as Amonasro, Enrico Serbolini as Ramfis, Lodovico Viviani as the King, and M. Grossi as the Messenger. The Metropolitan Opera Chorus was prepared by its director, Carlo Corsi, and Louis Saar conducted.
Lilli Lehmann
“Jean de Reszke and Lilli Lehmann bade farewell to Chicago last evening by appearing together in Verdi’s Aida,” wrote the reviewer in the Chicago Tribune. “It was a performance which for superb solo work, excellence of ensemble, and splendor of scenic and spectacular effects has not been equaled in this city—a performance which marked the highest point on the standard of excellence yet reached by the Abbey-Grau company.”
German soprano Lilli Lehmann—under the guidance of Richard Wagner—created the roles of Woglinde (in Das Rheingold and Götterdämmerung), Helmwige, and the Forest Bird in the first Ring cycle during the inaugural Bayreuth Festival in 1876. She made her American debut at the Metropolitan Opera as Carmen on November 25, 1885; five days later, she sang Brünnhilde in Die Walküre and the following year Isolde in the American premiere of Tristan and Isolde. Lehmann regularly performed at the Salzburg Festival—also serving as its artistic director—and her operatic repertoire ultimately included 170 roles in 114 operas. A notable teacher, her students included Geraldine Farrar and Olive Fremstad.
“Mme. Lehmann found in Aida a role which permitted a display of her splendid histrionic gifts, and the music to which was more nearly suited to her vocal powers than has been any she has sung this engagement,” continued the Chicago Tribune reviewer. “Her success was, therefore assured and splendidly she achieved it. Her acting of the slave princess was forceful, intense, at all times free from all exaggeration or extravagance. As for her vocal work, it commands unqualified and almost unlimited praise. The ‘Ritorna vincitor’ was given with marvelous appreciation of its sad, troubled character, and the ‘Numi, pietà’ was beautiful in the purity and simplicity of its interpretation. In the long duet with Amneris in act 2, Mme. Lehmann’s singing and acting possessed great power, and in the climax at the end of the act, her voice stood out with telling effect. It was in the third act that the finest vocal work was done. Anything more satisfactory than her singing of the ‘O patria mia’ and the heavy dramatic music which follows cannot be imagined. The ‘Vedi? . . . di morte l’angelo,’ in the last scene of the opera, was exquisite in its delicacy and poetry.”
Jean de Reszke
Born in Poland, Jean de Reszke began his career as a baritone in 1874, debuting in Venice as Alfonso in Donizetti’s La favorita. By 1879, he had made the switch to tenor when he sang the title role in Meyerbeer’s Robert le diable in Madrid. De Reszke was soon a regular at the Paris Opera and at London’s Covent Garden, performing the major French, Wagner, and Verdi roles; the title role in Massenet’s Le Cid—premiered in Paris in 1885—was written for him. His American debut was the opening night of the Metropolitan Opera’s residency with the Chicago Orchestra in the title role of Wagner’s Lohengrin on November 9, 1891. After his debut the following month with the company in New York—as Gounod’s Romeo on December 14—he was a regular with the Metropolitan until his retirement from the stage in 1904, settling in Poland to breed racehorses and Paris to teach singing. His students included Bidu Sayão and Maggie Teyte.
“Jean de Reszke’s triumph as Radamès was a triumph of voice and vocal art. Not that the dramatic side of the character was not developed. It was developed with the same consummate skill which has made his dramatic treatment of every role in which he has seen truly remarkable. But Radamès makes far greater demand upon a tenor’s vocal powers than upon his histrionic. Much of the music is purely lyrical in character, while other portions are strongly dramatic. A singer to do it justice must, therefore, combine the qualities of a tenore de grazia and a tenore robusto—a combination but rarely found. Jean de Reszke is such, however, and his singing of the music of Radamès is not alone satisfactory but an artistic treat of the highest kind. The famed ‘Celeste Aida’ was sung with a smoothness, clearness, and tonal beauty which were the perfection of pure vocal art, while the impassioned music of the third act was delivered with a vigor and intensity and a display of thrilling high notes which showed how dramatic singing may become and yet never cease to be singing nor degenerate into shouting.”
Portions of this article previously appeared here.
Riccardo Muti leads soloists Krassimira Stoyanova, Anita Rachvelishvili, Francesco Meli, Kiril Manolov, Ildar Abdrazakov, Eric Owens, Issachah Savage, Kimberly Gunderson, and Tasha Koontz, and the Chicago Symphony Orchestra and Chorus (prepared by Duain Wolfe) in Verdi’s Aida on June 21, 23, and 25, 2019.
The advance notice for the November 9, 1891, performance of Lohengrin included the names of producers, principal singers, conductor, and stage manager, but not the accompanying orchestra.
Following the third subscription week of its first season, the Chicago Orchestra (as we were then known) was in the pit of the Auditorium Theatre for performances by the Metropolitan Opera Company from November 9 until December 12, 1891, including three run-out performances at the Amphitheatre Auditorium in Louisville, Kentucky on December 7 and 8.
The first opera given was Wagner’s Lohengrin—sung in Italian—led by Auguste Vianesi, the Orchestra’s first guest conductor. That performance featured no less than five singers making their U.S. debuts: soprano Emma Eames, mezzo-soprano Giulia Ravogli, baritone Antonio Magini- Coletti, and tenor and bass brothers Jean and Édouard de Reszke.
On November 10, 1891, the Chicago Daily Tribune reported that even though several patrons were late in arriving due to “the fact that carriages approached in single file and the process of unloading was rather slow . . . [they] failed to dismay Sig. Vianesi, who began his calisthenic exercise with the baton promptly at eight. Eighty-five musicians of the Chicago Orchestra played the graceful Lohengrin prelude in a style which in the show-bill style was ‘alone worth the price of admission.’”
Wood engraved print by Fred Pegram of Jean and Edouard de Reszke—as Lohengrin and Heinrich—from The Illustrated London News in 1891
In the title role, Jean de Reszke “has the dignity and aplomb of an artist to the manner born and the glittering armor of the Knight of the Grail becomes him well. . . . [He] is an artist to the tips of his mailed boots and gloves. He has immense personal magnetism, and when he casually conveyed to Elsa the information, ‘Io t’amo,’ there was a responsive thrill under many a pretty corsage bouquet.”
On November 14, The New York Times reported from Chicago. “It was though reason for not a little regret both in New York and this city when it was announced that the management of the Metropolitan Opera House, which in a measure seems to control the operatic destiny of the country, had decided to discontinue German opera this year and to substitute therefore Italian opera. By selecting Lohengrin as the opera with which to open the present season, Messrs. Abbey and Grau made a praiseworthy compromise. All fears that the season would be composed of a series of repetitious of hackneyed Italian operas were thus allayed. It is too early to pass any judgment, but, according to the indications to be found in this week’s performances, it is almost safe to assume that in many respects this year will witness some of the most brilliant performances of grand opera ever given in this country.”
Regarding Édouard de Reszke as Heinrich, the Times continued, that he was “endowed with a voice which for power and quality, richness and warmth, range and volume, has seldom been equaled. He displayed the highest art in the use of it. His acting also was artistic, and dignified, and his impersonation was in every respect a regal one.” As Ortrud, Giulia Ravogli, “displayed histrionic ability of an exceptionally high order and a mezzo-soprano voice of extensive compass and considerable power.”
Additional singers who appeared during the residency were among the most famous of the day, including sopranos Emma Albani, Lilli Lehmann, and Marie Van Zandt; mezzo-soprano Sofia Scalchi; tenor Fernando Valero; baritones Edoardo Camera and Jean Martapoura; and bass Jules Vinché. 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; and Verdi’s Aida, Otello, and Rigoletto.
The final offering of the residency on December 12 was a fourth performance of Lohengrin, and changes in the cast included Valero in the title role, Albani as Elsa, and Vinché as Heinrich; Louis Saar conducted. Two days later on December 14, the company was back in New York for the Metropolitan Opera’s season opening: Gounod’s Romeo and Juliet featuring Eames and the de Reske brothers with Vianesi on the podium.
After two run-out performances on December 15 (at the Odeon in Cincinnati) and 16 (in Indianapolis), founder and first music director Theodore Thomas and his Chicago Orchestra resumed the regular season with the fourth subscription week at the Auditorium on December 18.
An abbreviated version of this article appears in the program book for the December 14, 15, 16, and 19, 2017, CSO concerts led by Jaap van Zweden. Special thanks to our colleagues at the Metropolitan Opera and their performance history database.
Program book advertisement for the Metropolitan Opera’s 1897 residency at the Auditorium Theatre
During the Chicago Orchestra’s first decade, the ensemble frequently performed in the pit when the Metropolitan Opera’s touring company traveled through the Midwest.
One of the most extensive residencies during that era occurred during the 1896-97 season, when the Met collaborated with the Orchestra over a six-week period—from February 22 through April 3, 1897—spending four weeks in the Auditorium Theatre followed by a two-week tour to Saint Louis, Louisville, and Cincinnati. Together they gave over forty performances of fifteen different operas, including Bizet’s Carmen; Flotow’s Martha; Gounod’s Faust, Philemon and Baucis, and Romeo and Juliet; Mascagni’s Cavalleria rusticana; Massenet’s Le Cid; Meyerbeer’s L’Africaine and Les Huguenots; Mozart’s Don Giovanni; Verdi’s Aida and Il trovatore; and Wagner’s Lohengrin, Siegfried, and Tristan and Isolde.
The touring company included some of the most important singers of the day, many performing multiple roles, including: Emma Calvé as Carmen, Marguerite, and Santuzza; Jean de Reszke as Don José, Faust, Lohengrin, Siegfried, and Tristan; and his brother Édouard de Reszke as King Marke, Leporello, Mephistopheles, Ramfis, and the Wanderer. Other singers included Mathilde Bauermeister, David Bispham, Giuseppe Campanari, Félia Litvinne, and Eugenia Mantelli, among many others, and Metropolitan Opera house conductors were Enrico Bevignani, Luigi Mancinelli, Louis Saar, and Anton Seidl.
Boito’s Mefistofele was performed once during the residency, on March 2, 1897, with the following cast:
Mefistofele Pol Plançon, bass
Faust Giuseppe Cremonini, tenor
Margherita and Elena Emma Calvé, soprano
Wagner and Nereo Igenio Corsi, tenor
Marta and Pantalis Eugenia Mantelli, mezzo-soprano
Metropolitan Opera Chorus
Carlo Corsi, director
Luigi Mancinelli, conductor
Pol Plançon, photographed in Paris in 1881 by Wilhelm Benque
In the Chicago Tribune, the reviewer described Plançon—who also performed the role of Mephistopheles in Gounod’s Faust on the tour—”M. Plançon as Mefistofele was forceful and majestic. In much of the detail he was the creature of Gounod’s libretto, but for one important exception, Boito’s Devil is thoroughly Italian. He is more noisy, impetuous, vindictive. The French composer has treated his subject with greater elevation of satire. Gounod’s French suavity and politeness never forsook him even when he set about depicting the Devil. Boito, true to Italian instinct, made his a personage terrifying, from the melodramatic point of view,. His Mefistofele never for a moment is allowed to forget what a bad person he is, and that is the chief thing he has to do in this entire opera. He is like a picture by [Gustave] Doré, red drapery, piercing eyes, and a background of smoke.”
For more details on the Metropolitan Opera’s Chicago residencies, check out the company’s performance history database.
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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.
Wagner’s Lohengrin (sung in Italian) was the first opera presented in collaboration with the Chicago Orchestra and the Metropolitan Opera on November 9, 1891
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, February-April 1897, 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.
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