Maretzek Italian Opera: La traviata

Event Information

Academy of Music

Manager / Director:
Max Maretzek

Event Type:

Record Information


Last Updated:
22 February 2019

Performance Date(s) and Time(s)

08 Mar 1869, Evening

Performers and/or Works Performed

aka Fallen Woman
Composer(s): Verdi
Text Author: Piave
Participants:  Maretzek Italian Opera Company;  Amati Dubreuil;  Ettore Barili;  Clara Louise Kellogg (role: Violetta);  Domenico Orlandini (role: Germont);  Alessandro [tenor] Boetti (role: Alfredo)


Advertisement: Courrier des √Čtats-Unis, 06 March 1869.
Advertisement: New-York Times, 08 March 1869, 7.
Review: New-York Daily Tribune, 09 March 1869, 8.

“The appearance of Miss Kellogg last night at the Academy of Music in ‘La Traviata’ attracted an excellent audience, filling almost every seat, but not crowding the house so uncomfortably as on the ‘Faust’ evenings. Her Violetta is a highly enjoyable performance, but neither so careful nor so natural as her Margaret. The gay woman of the world she assumes to perfection; but the heroine of Verdi’s opera is something far more than this, not only in the sad closing scene but throughout the play. Even in the midst of the revels there are moments of passionate outbreak when the better nature shines through the gilding and artifice of vice, and in these dramatic moments miss Kellogg often forgets to be herself. Take, for example, the parting with Germont in the second act; here she was admirable up to almost the last moment, when suddenly in the hight [sic] of her grief the passion vanished, and she tottered back to her seat with the graces of a fine lady. In that little motion she showed a lack both of true feeling and of true art. Vocally, the role is one of her best. The duet with Alfredo, Un di felice, the Ah for’ze lui, the finale of the third act, and the whole of the last act were delicious, and deserved even more emphatic applause than was given them. The last act was especially good, both vocally and dramatically. The audience in fact, like all fashionable audiences, though pleased was not demonstrative. Signor Boetti, who rendered full justice to the part of Alfredo, ought to have had a recall after his In miei bollenti. Orlandini, who, to tell the truth, is rather an aggravating singer, since you never know how much voice to expect from him, was not in his best trim, though he once or twice extorted little outbursts of surprise and applause by exceptionally excellent phrasing and intelligent delivery. The chorus was strong and good, and the orchestra in fine order.

Miss Kellogg’s engagement lasts only a few nights longer.” Lists upcoming operas.