Maretzek Italian Opera: Linda di Chamounix

“Miss C. L. Kellogg maintained her exalted position as a prima donna in Donizetti’s opera of ‘Linda di Chamounix,’ at the Academy of Music last evening.”

“DONIZETTI’S well-known opera of ‘Linda di Chamounix’ afforded an opportunity last night for the reentrance of Miss KELLOGG, and for Signor RONCONI to appear in one of those original characters in which he first made his great  reputation. The audience surpassed that of the opening night in brilliancy as well as numbers, and the performance was in some respects a more finished and satisfactory one. Miss KELLOGG has rarely sung or acted, to our knowledge, with better effect. Her opening aria, ‘Oh, Luce di Quest Anima,’ showed that she was in fine voice and spirits, and the magnetic influence of him who is still the ‘great Ronconi’ seemed to inspire her to the utmost point of her histrionic capacity. The duet with Carlo (Herr HABELMANN) was managed with much delicacy and fire, and the pathos and earnestness of Signor RONCONI, admirably seconded by all concerned, brought the curtain down on the first act amid spontaneous and hearty applause.

“No sketch is needed for opera goers, or indeed for theatre goers, of the story that gives abiding passion and tenderness to ‘Linda di Chamounix’ and brings its lesson home to every feeling heart. The tale is the same as that of HOWARD PAYNE’S ‘Clari,’ and is wrought up by much the same situations and accessories. It would hardly be possible to conceive a heroine for such a drama, more graceful, more delicate, or, upon occasion, more impassioned than Miss KELLOGG last evening showed herself able to be. Her youth, her person, her facile vocalization are all  in her favor for such parts, and she uses her advantages with conscientious fidelity. It is possible to conceive her Linda, a maiden innocent, trusting, absorbed in a mighty love, yet so tenacious of her native purity as to become overwhelmed with desperation at the bare thought of her betrayal. The character was well chosen for this gifted young lady’s reappearance, and we are glad to be able to record her deserved success in it. Herr HABELMANN sang the music of Carlo with care and sweetness. His action is mechanical and he lacks the quality, for which there is no English equivalent, of abandon. Nevertheless his performance was a good one, and his singing was sometimes excellent. We regretted to observe a repetition of the faults that marred Signor REYNA’S first appearance, and which seem to us by some fatality provokingly at variance with his real powers. The obstinate tendency to sing false may be in part the consequences of indisposition, and we shall gladly hope it is so until we have other opportunities to judge. Occasionally last night he was all that could be wished for, but the unevenness that marked ‘Il Conde de Luna’ was too frequently observable in Il Prefelio. Mme. CELLINI was acceptable in Pierroto, and Signor BARILI deserves the same praise in Il Marchese.

“The magnificent acting of Signor RONCONI, especially in the latter parts of the opera, should receive more than the hasty attention that, writing at a late hour, we are able to present to bestow upon it. It is not often that an audience has the opportunity to enjoy so admirable an exhibition of the loftiest phase of the lyric art, and it is a pleasure to say that the public on this occasion appeared fully to appreciate the fact. ‘Linda’ should be repeated as soon as possible. Its production is highly creditable to the artists and to Mr. MARETZEK. A great many operas are presented in a manner that is commonplace, some few in a manner that is commendable, but very few rise even at intervals to what hyperbole may be Called the sublime. Parts of the representation of ‘Linda’ fairly ascended last night even to so exalted a plane; and we do not hesitate to put on record the opinion.”

“New York, Nov. 8.–Max Maretzek commenced his season at the Academy on Wednesday evening, and has thus far given four representations with marked success. His company is an unusually strong one. He has made extensive and careful preparations for the campaign, and is unquestionably entitled to success. Mme. Briol, the new prima donna, is extremely well spoken of by competent critics; while in Lefranc, the tenor, it seems to be universally conceded that Maretzek has secured a trump card. Opera-bouffe being laid out cold, Max has only to give us unhackneyed works, good chorus singing, fresh voices for leading roles, and his success is an assured fact. Miss Kellogg appeared on Friday evening in ‘Linda,’ and will appear this evening in ‘Crispino.’”