Operatic Concert

Event Information

Academy of Music

Manager / Director:
Max Strakosch

Carl Bergmann
Paolo Giorza

Price: $.50 extra reserved; $1; $.50 family circle

Event Type:

Performance Forces:
Instrumental, Vocal

Record Information


Last Updated:
24 September 2019

Performance Date(s) and Time(s)

23 Oct 1868, 8:00 PM
24 Oct 1868, 1:00 PM

Program Details

Clara Louise Kellogg will give “farewell” appearances in New York on October 19, 21, and 23; after these, the troupe goes on tour.

Kellogg offered "Last rose of summer" as an encore to "O luce di quest' anima."

Susini was supposed to sing in the Faust Act III but owing to a bad cold was replaced by Coletti.

Performers and/or Works Performed

Composer(s): Flotow
Participants:  Guglielmo Lotti
aka Favorita; Favoured one
Composer(s): Donizetti
aka Letzte Rose
Composer(s): Traditional
Text Author: Moore
Participants:  Clara Louise Kellogg
aka Variations hongroises; Variations, violin (Hungarian); Variations on Hungarian songs
Composer(s): Ernst
Participants:  Wenzel Kopta
aka Laughing song; Eclat de rire
Composer(s): Auber
Participants:  Clara Louise Kellogg
aka Witches’ dance; Hexentanz
Composer(s): Paganini
Participants:  Wenzel Kopta
Composer(s): Donizetti
Participants:  Ignatz Pollak
Composer(s): Gounod
Participants:  Domenico Coletti;  Clara Louise Kellogg (role: Marguerite);  Frida de Gebele (role: Siebel);  Mme. [mezzo-soprano] Tartarini (role: Martha)


Announcement: New-Yorker Staats-Zeitung und Herold, 27 September 1868, 4.
Advertisement: New York Herald, 29 September 1868.
Advertisement: New York Herald, 14 October 1868.
Announcement: New York Post, 22 October 1868, 2.
Announcement: New-York Daily Tribune, 22 October 1868, 2.

“Miss Kellogg’s third concert takes place tomorrow. On Saturday she will sing at the matinée.”

Advertisement: New York Herald, 23 October 1868, 9.
Announcement: New York Post, 23 October 1868, 2.
Advertisement: New-Yorker Staats-Zeitung und Herold, 23 October 1868, 6.
Announcement: New-Yorker Staats-Zeitung und Herold, 23 October 1868, 8.
Review: New York Herald, 24 October 1868, 7.

“Yes, she is a success; she is a favorite, and her popularity is fixed in New York, as in Europe. The house at the Academy last night was a house of which Strakosch might well be proud—a full, stylish, critical and enthusiastic house. The whole programme was acceptably done—mostly well done, and in several instances admirably done. The romanza from Martha—that delicious romanza of the love of poor Lionel for the haughty Martha—was touchingly given by Lotti—the duetto from ‘La Favorita’ by Madame Gebele and Signor Petrelli, was sung as with a conscientious sense of duty to the composer, but perhaps with a nicer regard for the score than the spirit of the selection. The cavatina from ‘Linda,’ by Miss Kellogg, was perfectly delightful, and was honored by some rare presents of flowers and by a hearty encore, from which the audience obtained ‘The Last Rose of Summer’ with a sweetness and tenderness we have never heard excelled. And Kopta, the young violinist, is a splendid artist. His execution of the 'Air Hongrois' brought down such applause as is seldom accorded here to any other violinist than Ole Bull, and the little gem which he gave on his recall was still more warmly applauded. In the second the 'Chanson de Rire' (Auber) by Miss Kellogg was something to remember, and Pollak’s romanza from ‘Don Sebastian’ would have appeared to better advantage had it it not been immediately after Kopta’s ‘Witches’ Dance.’ Part thired, the third act of ‘Faust,’ was smoothly and neatly given this time throughout, Coletti (Carlyle’s famous Coletti) being substituted for the Susini and his awful bad cold and Madame Tartarini proving quite equal as Martha to the demands of the occasion. In a word, these Kellogg concerts are a hit, and Miss Kellogg is a first class favorite here, as on the other side of the water; and in her assistants there is the variety, vocal and instrumental, required to make a concert a success.”

Review: New York Post, 24 October 1868.

“The Academy was last evening filled with an audience nearly as large and as fashionable as greeted Miss Kellogg on her first appearance there. It is needless to say that the prima donna of the evening was as enthusiastically appreciated as then. She was more fortunate in her support than at her first concert, and the whole performance was enjoyed far more.”

Advertisement: New-York Times, 24 October 1868, 9.
Announcement: New-York Times, 24 October 1868, 6.

“There will be a matinée performance at the Academy of Music to-ady, when, in addition to an excellent concert programme, Miss Kellogg will appear in the third act of ‘Faust,’ sustaining her great rôle of Marguerite. We are glad to see, by the way, that Mr. Strakosch has resolved on giving a few performances of opera during the week. Miss Kellogg is essentially an operatic singer, and is only seen and heard to the best advantage in ‘character.’ It will be a treat to witness her Rosina once more. The ‘Barber’ will be played on Monday.”

Announcement: New-York Times, 24 October 1868, 6.
Review: New-York Daily Tribune, 24 October 1868.

“A fashionable and appreciative audience again greeted Miss Kellogg last evening at the Academy of Music. Every box, stall, and seat were occupied during the entire entertainment. Miss Kellogg sang the cavatina from ‘Linda,’ ‘Luce di quest anima,’ and on being recalled favored her admirers with the ‘Last Rose of Summer.’ She also sang several other favorite pieces, and was frequently applauded.” 

Advertisement: New-Yorker Staats-Zeitung und Herold, 24 October 1868, 6.
Review: New-Yorker Staats-Zeitung und Herold, 24 October 1868, 8.
Review: New York Herald, 25 October 1868, 7.

“The fourth appearance of Miss Kellogg and first matinée of the season at the Academy of Music yesterday afternoon was but a renewal of the warm welcome previously extended the American lyric queen. The house was crowded, every seat being occupied, and even the aisles and passage ways filled with a brilliant assemblage of the elite of the city, who greeted each successive entrée of the prima donna with the liveliest manifestations of delight, and watched with keenest appreciation every movement of the graceful figure and hung with bated breath and attentive ear upon each silvery note of the young artiste with an absorbed interest that was the highest compliment to her wondrous genius, broken only at intervals by a universal outburst of subdued applause. The programme was the same as that given the previous evening with one exception, omitting the romanza from Don Sebastian, and introduced the same artists. The special qualities of voice and expression which have achieved such brilliant success for Miss Kellogg are too well known to need reference here, and yesterday was for her only a repetition of former triumphs. Her voice was in fullest perfection, rich and clear, sweet as the gentlest uttering of feathered songster; her action arch and sprightly, or full of tenderest feeling. The former prevailed in the concert, the latter in the rôle of Marguerite, developed to a power of expression impossible to be excelled. Of the artists who appeared with Miss Kellogg, Madame de Gebele received deserved recognition for her rendering of the rôle of Siebel; the others were, as far as their abilities allowed, sans reproche.”

Review: New-Yorker Staats-Zeitung und Herold, 25 October 1868, 4.
Review: New York Herald, 26 October 1868, 7.

“The Kellogg concerts, given during the past week at the Academy of Music, despite the miserable support afforded the popular prima donna, were decidedly successful. Not that Miss Kellogg needed greater attraction or support than her own sweet, fresh voice and versatile talent to crowd the house every night, but that other attractions having been set down in the programme, the public very naturally felt disappointed when those ‘extra attractions’ fell below even the mediocre, and, indeed, the very first concert of the series would unquestionably have proved a complete fizzle but for the indulgence of the public and the superb singing and acting of Miss Kellogg personally. These defects having been remedied, we are now promised two opera nights and a matinée on Saturday. This evening the ‘Barber of Seville’ will be given entire, with Miss Kellogg in the rôle of Rosina.”

Review: New-York Times, 26 October 1868, 5.

“The Kellogg Matinée on Saturday drew out one of the finest audiencs of the season. The Academy once more assumed its gala appearance, and blossomed with beauty up stairs and down. Our fair and gifted countrywoman has not lacked an appreciative and hearty welcome. The concerts at which she has appeared, albeit of no high range of merit, have been admirably attended—the attraction being Miss Kellogg. We venture to think that a London success was not even needed to insure this result, and we positively refuse to believe, even in the presence of so doughty a champion as Mr. Strakosch, that the lady is better now than when she left us. She is the same, and had she changed in the slightest degree it would have been an injury to every impression that genius, skill and susceptibility had previously made. Nothing was more maddening than the patronising way in which some of the English papers spoke of Miss Kellogg during her season in London, respectfully, to be sure, as regarded her powers, but always as though she had never sung an opera until she went there, and was, therefore, cramming vigorously to get up a repertoire. The dolts! as if she did not know everything worth knowing.”

Review: Dwight's Journal of Music, 07 November 1868, 341.

“Miss Kellogg was assisted at each of her concerts by Signori Lotti, Petrelli, Susini, Mons. Alard (’cellist) and by Mlle. Topp (pianist). The general impression with regard to the cantatrice seems to be that she sings fully as well as she used, while in manner she has not improved. She seems to be more self-conscious (even self-consequent) than of yore, and to have lost that charming freshness and unassuming demeanor which were once her attractive characteristics. All this, be it understood, is a general impression, for the truth of which I am unable to vouch from personal knowledge.”

Review: New-Yorker Musik-Zeitung, 07 November 1868, 216.

Strakosch departed for Boston with Kellogg, where he will give opera concerts. These concerts were an affront for the New York audience. The programs consisted of flat, pale little pieces and only Kellogg’s appearance, the initial curiosity of the audience, and the sudden stopping of the concerts saved Strakosch from high losses. Strakosch does not care what genre of music he makes money with. He is not as ambitious as Maretzek. Passive members of the Strakosch society as Alide Topp, Kopta, or Ingnaz Pollack did well; however, even they could have been better with more competent direction.