“A new prima donna has made her bow at the Academy of Music. The selection for her debut was not a happy one, being Selica [sic], in Meyerbeer’s spectacular L’Africaine. The merits of this opera, as we all know, depend on the magnificent orchestration, scenic effects of the world renowned ship and tree and the choruses. Selica has only one grand scene, and that is in the last act, when every one thinks of going home or has gone home. Still there are abundant opportunities in the role for a prima donna to show what manner of artiste she is. Mme. Young has a clear, sympathetic, well-trained and controllable voice, in which the lower notes partake of the contralto fullness without losing the soprano quality, and in which the upper register is beautifully rounded in each of its notes. She uses her voice like an artist, with moderation, faithfully interpreting every phase of passion, without reverting to exaggerated oubursts or sensational screaming. Her acting in the irrepressible African was all that might be desired.  The orchestra, under Carl Bergmann, was admirable, and the ship and tree did their duty in a commendable manner.”

“At the Academy of Music, nothing of mention. The second performance of L’Africaine hasn’t modified the impression left by the first.”