Maretzek Italian Opera: Poliuto

“The performance of ‘Il Poliuto’ last evening at the Academy rose in merit decidedly above public expectations, and justified enthusiasm such as is not frequently witnessed. Signor LEFRANC’S impersonation of Poliutus has obviously been most carefully studied, and this tenor’s fine lyric powers are brought to bear in executing his conception with admirable effect. The grand characteristics of the part—unswerving faith and sublime piety—were conveyed in a manner singularly impressive, and with an evenness and fervor that showed Signor LEFRANC to be an actor no less than a singer of rare ability. With a single exception we have had in this country no tenor who could both act and sing as well as this artist; and Mr. MARETZEK and the public are to be congratulated upon an acquisition of a calibre [sic] so seldom met with as almost to constitute a natural curiosity. The only noteworthy fault to be discerned in Signor LEFRANC is that his voice at intervals shows traces of wear; and, after all, it is hardly gracious to refer to such an occasional defect, when it is attended and redeemed by so much excellence, and when, in truth, it is perhaps the inevitable consequence of the histrionic zeal and passion that afford us so much pleasure.  Signor LEFRANC was cheered last night to the echo; and was repeatedly summoned by the audience to receive lavish tokens of their approval.

“Miss KELLOGG essayed on this occasion the difficult part of Pauline, and those accustomed to see and admire her in the lighter operatic rôles were fairly surprised by the soul, pathos and energy which the young prima donna threw into a character that taxes to the utmost the strength of the most mature and cultured singers on the stage. Miss KELLOGG has also control of a degree of fire and physical vigor which she employs, when required, with unexpected yet never-failing tact and certainty. Being last night in perfect sympathy with Signor LEFRANC in all he aimed to achieve, the two played into each other;’ hands with the happiest results, and popular approval in consequence swelled at times into something very like an ovation.

“Signor REYNA sang better in Severo than we have yet heard him. If this gentleman ever falls short of the highest success with his audience it is surely from no lack of the heartiest good-will. He took great pains in this performance and pleased the public better than he has heretofore done. The chorus, orchestra, and mise en scene were likewise of a more satisfactory nature than they have always previously been, and the representation deserves to be ranked on the whole as a really triumphant one.”

“Donizetti’s ‘Poliuto’ as performed at the Academy of Music by Kellogg, Lefranc and Reyna, and announced both for this evening and for the Saturday matinee, is, so far, the most brilliant performance of the season. It was as Paulina that Miss Kellogg made her first appearance on any stage, and she now brings to the rendering of the part all the resources of natural talent, culture and expression. In no other p[-art] does she manifest such decided dramatic ability. She sung and acted most admirably on Wednesday night, and was ably seconded by Lefranc, both receiving an encore for the duet of the last act. A similar compliment was extended for Lefranc for his charming vocalization in the aria Sfolgoro divino raggio, and was deserved again in the fine concerted music of the second act, where Lefranc rendered the phrase Lasciami in pace with wonderful power of expression and purity of tone. The performance of this noble opera was fine throughout, the only deficiency being in the scenic effects.”

Another marked triumph was achieved by Kellogg and Lefranc, in ‘Poliuto,’ at the Academy of Music last night. We have never heard the fair young prima donna sing with greater purity of style and tone than in the larghetto movement Di quai soave, which was followed by the allegro written in the opera by Donizetti. Hitherto other arias—notably one by Muzio—had been introduced in this scene, in place of the original movement.

“Lefranc received his usual encore for the aria in the second act, and he flings out his very high notes with prodigal liberality. In the duet of the last act he, with Kellogg, received the customary demand for repetition.

“‘Poliuto’ was first produced in this country by Piccolomini, and since her day has been frequently revived for later prima donnas. It is justly enumerated among the finest of Donizetti’s works, the libretto being much above the average, and affording the composer unusual opportunities for contrasted effects.  The religious music of the opera is one of its leading features. The overture is decidedly the most original that Donizetti has written, and is varied in a novel manner by a chorus behind the curtain. It is probably that ‘Poliuto’ will be repeated again during the season, as it certainly deserves to be.”

“’Poliuto’ was brought out at the Academy on Wednesday evening, and repeated last night. On both occasions the opera has been well sung and to very large and enthusiastic audiences.

“It is not a great work, and in it Donizetti seldom rises to the height of fervor, much less inspiration; and yet it is full of pleasant, easy-flowing melody, and meets the musical requirements of most audiences. The finale to the second act is well contrived, and the duo in the third act has made itself famous, though it smacks somewhat of the street band, and will not bear the test of much analysis.

“The opera, however, such as it is, gives the tenor capital opportunities for bravura singing, of wehich Signor Lefranc made such good use that he may be said to have had a signal success in the title rôle. There is an admirable certainty and assurance about this artist that begets in his audience a feeling of entire confidence in his capabilities. He always responds to the requirements of his part; indeed, he saves himself, if anything, too little. Miss Kellogg, who usually reserves her strength, and is more sedulous to preserve purity of tone to make great effects, finds herself compelled to exert herself whether she will or no, and really does her utmost to meet the situation. But though she sings such cavatinas and scenas as fall her share delightfully, it is evident that tragic opera is not the domain in which she is most at home, or in which she is at her best. The pressure of the declamatory duet in unison with a tenor of such power as Lefranc taxes her utmost vocal resources. She acquits herself in it, however, in a most praiseworthy and creditable manner.”

Summary of previous week’s performances. “ . . . On Wednesday an emphatic ‘sensation’ was made by Signor LEFRANC in ‘Il Poliuto,’ in which he was effectually aided by Miss KELLOGG. Leaving MARIO and SALVI, both singers of a far different school, out of the question, we have had no dramatic tenor here to compare with Signor LEFRANC. If his Arnoldo in ‘William Tell,’ which is announced for Tuesday, is as much better than his Manrico, we may expect next week a genuine furor, surpassing anything elicited by operatic achievements for many a day. Miss KELLOGG has so far improved in strength, passion, and mastery of stage conventions, as to outstrip in Pauline (into which the opera bills persist in Gallicising the name) any of her former serious efforts. Both artists were summoned before the curtain, with great applause, on Wednesday, and the two repeats of ‘Il Poliuto,’ on Friday, and at the matinée yesterday, were no less attractive and triumphant than was its first presentation.”