Maretzek Italian Opera: Linda di Chamounix

Event Information

Venue(s):
Academy of Music

Manager / Director:
Max Maretzek

Conductor(s):
Max Maretzek

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
28 August 2021

Performance Date(s) and Time(s)

09 Feb 1870, Evening

Performers and/or Works Performed

1)
aka Linda of Chamonix
Composer(s): Donizetti
Text Author: Rossi
Participants:  Maretzek Italian Opera Company;  Giorgio Ronconi (role: Antonio);  Eliza [contralto] Lumley (role: Pierotto);  Giovanni [baritone] Reyna (role: Prefetto);  Guglielmo Lotti (role: Carlo);  Ettore Barili (role: Marquis);  Clara Louise Kellogg (role: Linda)

Citations

1)
Announcement: New York Sun, 07 February 1870, 2.
2)
Announcement: New-York Daily Tribune, 07 February 1870, 5.
3)
Advertisement: New-York Times, 09 February 1870, 7.
4)
Announcement: New-York Daily Tribune, 09 February 1870, 5.
5)
Review: New York Post, 10 February 1870, 2.

“The friends and admirers of Miss Kellogg were out in large force last night, to welcome that charming singer back to the Academy of Music. The opera was Donizetti’s plaintive pastoral, ‘Linda di Chamouni,’ which, though by no means the composer’s best work, contains some of his sweetest melodies. Its performance last night was decidedly pleasing. Miss Kellogg was encored in her first aria, the Luce di quest, anima, and gave decided satisfaction throughout the work. Ronconi showed again his great lyric power in the part of the old father, Antonio, and Madame Lumley and Signor Lotti added to the interest of the performance.”

6)
Review: New York Sun, 10 February 1870, 2.

“Miss Kellogg appeared last evening in ‘Linda di Chamounix,’ one of the brightest inspirations of Donizetti’s genius, and one of the operas that the fair singer finds most congenial to her powers. So far as her part was concerned, there was nothing left to be desired. She gave Linda with all that grace, sweetness, and perfect vocalization that have made her famous in the past. Lotti also sang with unusual spirit and power. Ronconi was not in good voice. He had taken all the labor of the production of ‘Maria di Rohan’ by the amateurs at the Union League Theatre on his shoulders; his labors in that direction culminated at the representation of Tuesday evening, and left him fatigued and worn. Mme. Lumley, the new contralto, very ably seconded Miss Kellogg. There is no mistake about her voice. It is not a mezzo-soprano forced down, but has the contralto color, and is strong and sonorous. The ensembles, especially those of the second act, were admirably sung.”

7)
Review: New-York Times, 10 February 1870, 5.

“The star of Donizetti is for the moment ascendant. His ‘Maria di Rohan’ on Tuesday at the Union League Theatre, and his ‘Linda’ last night at the Academy, were produced to fine audiences that seemed amazingly to relish his music and that were enabled to judge how vastly fine acting has helped to keep alive its popularity. Signor Ronconi’s Antonio is better known here than his Chevreuse, and we have so recently called attention to its merits as to render present encomium superfluous. Tomorrow night this admirable artist is to sing Rigoletto, thus completing a trio of characters very arduous to assume within four days, but which strikingly show the variety and extent of his powers. Miss Kellogg was hailed with delight last evening in ‘Linda,’ compelled to repeat her opening air by enthusiastic demands, and applauded throughout with a vigor that proved how firm a hold this charming young artist has secured upon the affections of the public. Miss Kellogg was in excellent voice and spirits, and improves visibly in person as she matures. Her singing in ‘Linda’ was marked by her customary delicacy and executive facility, and her total freedom from exaggeration made her performance an exceedingly pleasant one both to hear and to see. Mme. Eliza Lumley was favorably received as Pierotto. She has a telling contralto of compass and training, and has evidently studied in a good school. The Carlo of Signor Lotti was pleasing, but the gentleman lacks force and presence for so important a part. The concert room rather than the stage is, we should say, Signor Lotti’s most fitting arena. We have not, however, heard Signor Lotti before in opera, and it is scarcely fair to judge from a single performance, and it must be admitted that his singing in the latter parts of ‘Linda,’ and notably his scena in the second act, rose considerably above mediocrity. Signor Reyna did his best with the Prefetto, and at times was more than good in it. The music has, however, some dangerous pitfalls and snares for his rather uncertain organ, and he did not pass through the ordeal without occasional mishaps. For the rest, the opera was evenly sung, and did credit to the chorus and orchestra, as well as the principals.”

8)
Review: New-York Daily Tribune, 10 February 1870, 4.

“The joint appearance of Miss Kellogg and Ronconi last night in ‘Linda di Chaminoux’ attracted a fair audience to the Academy of Music, but not so large a one as we expected to see. The two singers whom we have mentioned are both excellent in this opera, and Ronconi as Antonio, is, perhaps, at his best. The rest of the cast, if not excellent, was, at least, respectable. Lotti was decidedly respectable as Carlo; Madame Lunley made a muscular and strong-lunged Pierotto; Reyna was as good as usual in the character of the Prefect, and Barili was much better than usual as the Marquis.”

9)
Review: New-York Times, 13 February 1870, 5.

“Five Italian operas have been sung in New-York during the past week—‘Masaniello’ on Monday, at the Academy; ‘Maria de Rohan, at the Union League Theatre, on Tuesday; ‘Linda’ at the Academy, on Wednesday, and ‘Il Ballo in Maschera’ and ‘Fra Diavolo’ at the same house on Friday and Saturday. …[Discussion of Masaniello and Maria de Rohan]. The representation of “Linda’ on Wednesday, at the Academy, was well attended and well received, but cannot be recorded as an unequivocal artistic success. Miss Kellogg, who made her reëntre as the heroine, sang with even more than her usual excellence, but her support was, on the whole, weak, and in spite of the admirable acting of Signor Ronconi as Antonio the opera was not among the best rendered of the season.”