Maretzek Italian Opera Company: Crispino e la comare

“[W]ith its usual highly attractive cast.”

“Amusements. Italian Opera. Not since the opening night has the new Academy presented so gay an appearance as last night. The opera performed—‘Crispino’—is one that has always enjoyed a peculiar popularity, and was never probably better presented than it has been by the Matetzek company. Indeed, it is difficult to imagine how the three leading parts could be more perfectly sustained than they are by Miss Kellogg, Ronconi and Bellini. The first of this distinguished trio is entirely at home and at ease in the lively character of Annetta, and whether in joyous, or jealous, or petulant mood, is equally arch and piquant. The music of her part is easily within her range, and is executed with a charming absence of apparent effort. Ronconi’s Cobbler is one of those personations as to which criticism is impossible, since there is room merely for admiration. It is a comic creation, as unique as it is inimitable, and incomparable with anything else. Those who have not seen it have not yet learned the possibilities of the best of living buffos.

When Signor Bellini first assumed here the part of the Doctor his admirable humor surprised even his warmest admirers, and especially in the famous duo, where the contest in acting between himself and Ronconi is so close that it is impossible to award a palm of superiority to either. Signor Antonucci, always faithful in his part, won more than one tribute of applause last evening.”

The event was very successful. All leading roles, especially the Annetta (Kellogg) and Crispino (Ronconi) were performed excellently, including the orchestra and chorus under the direction of Signor Tortani [i.e., Torriani]. The theater was completely filled.

This opera was the most attractive so far, in spite of the less decorative scenery in comparison to other operas performed before. The melodious style, especially the capricious gracefulness of Kellogg’s Annette and the bold humor of Ronconi’s Crispino gave this opera an unresistable appeal.

“Music. The reawakening of Crispino at the Academy brought out Ronconi once again in a part that is dear to him and his public. It has been applauded through several seasons, and we shall not speak of it at length.”