Finally we are told of the approaching end of the season:—
"Sept. 16th.—The Italian operas are about to close in this city. We believe it is not finally arranged how the troupe is to be disposed of, but the Philadelphia papers express strong hopes of having this delightful entertainment"—enchanting phrase for such an occasion—"in that city." The following is Signor Garcia's card:—
"'Signor Garcia respectfully announces to the public that his engagement is limited to five representations of Italian operas, and will positively conclude on the 30th inst. On Saturday, September 16th, the benefit of Garcia, jun.'"—this was how Manuel appeared on the bills throughout the New York season—"'Tuesday the 19th, benefit of Mme. Garcia; Saturday the 23rd, benefit of Signor Garcia, Tuesday the 26th, benefit of Signorina Garcia, concluding Saturday the 30th, this being positively the last night of performance.'"
And so, on September 30, 1826, the first American season of Italian opera was brought to a close, after lasting ten months,—seventy-nine performances in all.
As to the repertoire, we have already set down the names of "Il Barbiere," "Don Giovanni," "Tancredi," and "Otello"; besides these we find Zingarelli's "Romeo e Giulietta," which in later years was to be ousted as completely from the field by Gounod's version as Rossini's "Otello" was fated to be by Verdi's. The list was completed by "Cenerentola," "Semiramide," "Turco in Italia," and two operas specially written by the elder Garcia, with a view to showing off his daughter's talents, "L'Amante Astuto," and "La Figlia dell' Aria."
As to the composition of the orchestra, we learn that it consisted of seven violins, two violas, three violoncellos, two double-basses, two flutes, two clarinets, one bassoon, two horns, two trumpets, and drums,—twenty-four performers in all. The first violin and leader was De Luce, while a M. Etienne presided at the pianoforte. That the orchestral standard was by no means as high as that of the vocalists, may be readily surmised from the following criticism of one of the earliest performances:—
"The violins might be a little too loud; but one soul seemed to inspire and a single hand to guide, the whole band being throughout the magic mazes of Rossini's most intricate flights under the direction of M. de Luce; while M. Etienne presided in an effective manner at a piano, of which every now and then he might be heard to touch the keynote by those whose attention was turned that way, and just loud enough to be heard throughout the orchestra, for whose guidance it was intended."
As has been already stated, the performance took place on Tuesday and Saturday evenings. The latter was a very great mistake, owing to the strong religious feelings of the city, which kept the inhabitants from going out on this evening for fear of interfering with preparation for the Sabbath. As we may read in a notice of the season, which was sent over by the New York correspondent to one of the English papers: "Saturdays were fixed on in imitation of London, but on the night which is your best nobody goes to the theatre, for we are very serious in this city, and do not go to the late amusements on Saturday."
However, in spite of this contretemps, the season turned out a complete success, for the 79 performances brought in gross receipts of 56,685 dollars (ranging from 1962 dollars on the best night to 250 dollars on the worst), which made an average of some 700 dollars at each representation.
It is rather ludicrous to read some of the articles which appeared in the New York papers during the earlier months of the Italian Opera. In them advice was given to those who had written asking questions as to how to dress in a fashionable way for the opera nights, according to the European manner, and how to behave during an opera performance.