[The] Havana troupe was notable for its corps of fine singers, among them being some of the world’s foremost artists. Tedesco, the soprano, was truly a great dramatic singer. After the Boston season was over, she went to Paris, and easily won the first place in all European opera houses. Then there was Vita, the contralto, a splendid singer, second only to Alboni. Then came Perelli, the tenor, who was a fine singer, a thorough musician, and a remarkable pianist This artist after leaving Boston made his home in Philadelphia. There was also Novelli, a magnificent basso, who became well known in Boston, as he visited that city many times subsequently.

The opera had a good effective chorus, and a complete orchestra, with Arditi (afterward so well known) as maestro, or conductor, and first violin,—it being the custom in those days for the leader to beat time with his bow, playing on his violin when he desired to assist or to animate his men. […] I must not omit to say that Arditi was a true virtuoso on the violin.

[…] They had for contrabasso the world-renowned Bottesini, a veritable Paganini on his big instrument. The troupe performed but three times per week. That also was the prevailing custom of the day.

[…]

It was customary for the troupe to give concerts in the theatre on Saturday evenings, on which occasions Arditi and Bottesini played solos.