Brignoli Italian Opera: Il trovatore

Event Information

Venue(s):
Academy of Music

Manager / Director:
L. Albites

Conductor(s):
Paolo Giorza

Price: $2, $1.50 reserved; $1; $8, $10 boxes

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
4 June 2022

Performance Date(s) and Time(s)

16 May 1870, Evening

Performers and/or Works Performed

1)
aka Troubadour
Composer(s): Verdi
Text Author: Cammarano
Participants:  Brignoli Italian Opera Company;  G. [basso] Fossati (role: Ferrando);  Marietta Gazzaniga (role: Azucena);  [baritone] Petrelli (role: Count di Luna);  Pasquale Brignoli (role: Manrico);  Clara Louise Kellogg (role: Leonora)

Citations

1)
Advertisement: New York Herald, 08 May 1870, 8.
2)
Advertisement: New-York Times, 08 May 1870, 7.
3)
Announcement: New York Herald, 09 May 1870, 7.

“Next week we are promised Italian opera at the Academy under the direction of Mr. Albites. Brignoli, McCulloch, Gazzaniga and Kellogg are the principal attractions.”

4)
Announcement: New-York Times, 12 May 1870, 5.

“The promised brief season of Italian opera by Signor Brignoli and Miss Kellogg commences on Monday evening with a representation of ‘Il Trovatore.’ The sale of seats, which commences today at the Academy of Music and at the auxiliary offices, ought and is likely to be brisk.”

5)
Announcement: New-York Daily Tribune, 12 May 1870, 5.

“On Monday Signor Brignoli comes back to the scene of his early triumphs, and comes in the same guise wherein he first took New-York by storm, namely, as Manrico in the ‘Trovatore.’ He is sure to be excellent in that character, for his voice has lost little of its ancient sweetness—and even his acting has not changed for the worse. The cast otherwise offers two interesting features—the first appearance of Miss Kellogg as Leonora and of Madame Gazzaniga as Azucena, both which experiments will be watched with curiosity. The sale of tickets begins to-day. How long the season will last, we believe, is uncertain; there will be at any rate three evening performances next week and a matinée.”

6)
Advertisement: New York Herald, 16 May 1870, 12.

Prices.

7)
Announcement: New-York Daily Tribune, 16 May 1870, 5.

Brief.

8)
Announcement: New York Post, 16 May 1870, 2.
9)
Announcement: New York Sun, 16 May 1870, 2.

“At the Academy of Music a season of Italian opera opens this evening, under the direction of Signor Albites. Miss Kellogg will appear for the first time in ‘Trovatore,’ and Mme. Gazzaniga will make her return to the stage in the part of Gypsa. Brignoli as Maurice, Petrill [sic] and Fossati in the other parts, will give great interest to the occasion.”

10)
Review: New York Herald, 17 May 1870, 7.

“This old much abused yet ever welcome opera, was brought out last night at the Academy with such a superb cast, well drilled chorus and excellently balanced orchestra that in its new setting the well known opera had the air of novelty. [Lists cast and roles; notes it was Kellogg’s first tragic opera and Gazzaniga’s first appearance in a contralto role.] As might well be expected, such artists drew a brilliant and fashionable audience, which crowded the house from parquet to dome, not a seat being vacant. It is seldom that ‘standing room only’ greets a manager’s eyes at this establishment, but last evening was an exception to the rule. The boxes gleamed with fashion and beauty, which was reflected in the parquet beneath. From the opening song of Ferrando (Fossati), in which he describes in such terrible, vivid terms the fate of the child of the Di Luna and the gypsy mother, to that last mournful scene, when the gypsy daughter points out to the revengeful Count the form of his murdered brother, so long mistaken for her child, every aria, scena, chorus, and even recitative received all the artistic finish, expression and spirit which was called for. Miss Kellogg sang the exquisite Tacea la notte one of the most passionate love songs that ever thrilled an opera audience, with all that rare, sympathetic tenderness and clear, ringing tone for which her voice is so well known. She acted the part of Leonora very differently from the myriad other prime donne who have chanted their woes in the Irving place opera house. With her Leonora was a childlike, loving, trusting girl, whose whole soul was bound up to her troubadour. Others make the heroine a semi-Lucrezia Borgia, whose love is as terrible as her hate. In the intensely dramatic D’Amor Sul [sic] and the succeeding miserere she displayed a fire and passion which few, knowing her only in light roles, would give her credit for. Mme. Gazzaniga took us by surprise in her new character as a contralto. Originally a mezzo soprano, her voice has now regained all the sonority and power of the lower register and that deep, sympathetic tone so essential for contralto roles, and those who have heard and seen her in ‘Saffo’ will understand our meaning when we state that her Azucena is one of the same standard. But the feature of the opera was the American Mario, the prince of tenors, whose sweet, exquisitely toned voice never sent forth its melody with more effect than last evening. He has now sung his way into the affections of the American public in nearly every State in the Union, and he returns to use with all the power and cultivation that first made him a favorite here. In Di quella pira and Amore, sublime amore, he threw passion, intensity of expression and tenderness such as reminded us of poor Giuglini, the greatest Manrico that ever lived. He has improved also in acting, and has happily rid himself of the only defect that ever marred his impersonations. Petrelli was a satisfactory Count di Luna, and his light but well cultivated baritone voice told well throughout. To Mr. Gionza [sic], the leader of the orchestra, praised is due for the excellence of the ensemble.”

11)
Review: New-York Times, 17 May 1870, 5.

“A short season of Italian opera was begun last night at the Academy of Music, under circumstances uncommonly and, considering the season, surprisingly propitious. ‘Il Trovatore’ was the work selected for the opening, and the result showed the choice to be a wise one. Threadbare as the opera is, it has a tenacious hold on popular affection, and a house most uncomfortably full rewarded its presentation on this occasion. The return to the Metropolis of Signor Brignoli, always a great favorite here, and especially liked in Manrico, was of course one reason for this; the first essay of Miss Kellogg in Leonora was another; and when to these attractions was added the impersonation of Azucena by Mme. Gazzaniga, good cause became apparent, besides the attraction of Verdi’s noisy composition, for the great concourse of music-lovers thus brought together. Miss Kellogg, as usual on test nights, surprised her audience in Leonora. We are not prepared to say that the part will become immediately one of her best. Its dramatic as well as vocal demands are very exacting, and much practice is, perhaps, indispensable to allow any artist whatever to arrive at what her best powers may be capable of in the character; yet Miss Kellogg acquitted herself last night with remarkable finish and self-possession, and on trying occasions completely secured the suffrage of her audience. Leonora requires a weight and volume of voice which Miss Kellogg may not yet be quite ready to display; but the rapid strides this gifted young lady has hitherto taken in her art, the proficiency she has attained in rôles of widely different caliber, and the seeming ease with which she has conquered difficulties insurmountable to most young singers, indicate that she is likely to arrive at first-rate excellence in whatever she undertakes, and that this is likely to be the case in the present instance. Signor Brignoli was greeted with the old-time enthusiasm, and his beautiful voice rang through the familiar spaces of the Academy with infinite sweetness and resonance. It struck us at first that Signor Brignoli’s voice betrayed signs of wear; but the extreme heat of the evening probably relaxed more or less the throats of all the singers; and in the later parts of the opera the favorite tenor left nothing to desire. In the third act Signor Brignoli was quite superb; and although the audience previously charmed, were a little disappointed at missing their lately accustomed C in the famous ‘Di Quella Pira,’ they had abundant reason to be more than satisfied. Mme. Gazzaniga was most satisfactory in Azucena. The part is not one we should expect to account in her line, but was nevertheless rendered with remarkable picturesqueness, vigor and effect. It is long since we have had an entirely efficient Conde de Luna; and we cannot quite say that Signor Petrilli has broken the spell. This gentleman, however, sang well and evenly, and much of what he lacked in power and dramatic expression, [can] be made up in care and purity of style. The chorus was good, and the orchestra, under Signor Giorza, was better than we have been lately accustomed to hear in the Academy.”

Concludes with brief announcement for upcoming performances.

12)
Review: New-York Daily Tribune, 17 May 1870, 5.

“The revival of Italian Opera at the Academy of Music last night was an occasion of surprises. The house was crowded and fashionable, which we had not expected; and the performance was unmistakably successful, which we confess we had not expected either. The chief point of interest was the appearance of Miss Kellogg in a role so different from the parts she has generally chosen, and, one would suppose, so unsuited to her powers as the Leonora of the ‘Trovatore.’ It is a role in which all the greatest dramatic singers who have visited us for the last fifteen years have won their brightest laurels. La Grange in her prime made it so peculiarly her own that it is hardly an exaggeration to say that every singer who has tried it since then, with the single exception of Parepa, has been compared with La Grange’s magnificent example, and found wanting. It is a role which exacts less culture than many others, but power of voice, breadth of style, and intense passionate feeling. No wonder then that the best friends of the young prima donna, who is so charming as Linda, and Amina, and Annetta, so sweet and gentle as Marguerite, so fascinating as Rosina, trembled when they heard of her perilous venture in the ‘Trovatore’ We are delighted to report that their forebodings have come to naught. Miss Kellogg has achieved a distinct success. We do not say that her voice is strong enough for the part; it certainly is not, and in several of the concerted pieces it was hardly audible; but she developed an intensity of expression and a breadth of style of which we had not believed her capable; she acted with great earnestness, and her delivery of the music, we need hardly say, was pure and conscientious. It is peculiarly gratifying to be able to say all this, for there is no concealing the fact that Miss Kellogg has compromised her artistic position during the last year by many a listless, uninspired performance, and led the public to underrate her real abilities. She has roused herself and taken a fresh start, and we trust her career henceforth will be ever onward.

“Of the rest of the performance we cannot speak so favorably. Mr. Brignoli’s Manrico is too well known to require criticism. In the serenade he forced his voice unpleasantly, being apparently over-anxious to exert himself; but from this unusual state of mind he speedily recovered, and after the first act his singing was as delicate as when we last heard him. His reception all through was very cordial. Madame Gazzaniga’s Azucena we can praise as an earnest and intelligent piece of acting, but that is all. She has rather a sharp soprano voice, which the music of the Gypsy does not suit. The De Luna was Signor Petrilli, a baritone whom Mr. Strakosch introduced to us when Miss Kellogg first came home from Europe. He has a nice but rather slim voice which he does not know how to use, for he sings from his head. The bass part of Ferrande was intrusted [sic] to Signor Fossati, who has a high baritone. The chorus was rather shaky; but the orchestra, directed by Signor Giorza, was excellent.”

13)
Review: New York Post, 17 May 1870, 2.

“In assuming a higher range of characters and stepping upon the more elevated plane of lyric art, Miss Kellogg has met with the success which always attends careful and conscientious effort aided by genuine, even if not transcendent ability. The present opera season at the Academy of Music is interesting from several points of view; but especially from the fact that the favorite American prima donna is to appear in a series of new characters.

“As Leonora, in Verdi’s ‘Trovatore,’ last night, Miss Kellogg had to compete with the memories of all the great prima donnas of the last fifteen years, from Steffanone to the present day, including such celebrated women as Grisi, La Grange, Zucchi and others, who, to great artistic skill, added a degree of passionate emotion, which is, in some sense, foreign to the American mind. Miss Kellogg, therefore, in point of intensity, and of that broad, sympathetic wealth of expression which seems to be the happiest feature of the rich, luxurious voices with which the daughters of Italy are specially endowed, was wanting; and many of the strong ‘points’ to which the usual personators of Leonora have accustomed us, were not reproduced. On the other hand the acting of Miss Kellogg was highly intelligent and admirably graceful throughout. Hitherto the Leonora of the operatic stage has been a mature, passionate woman, who might as well be Lucrezia or Norma. In Miss Kellogg’s personation it is a trusting, loving maiden. Both readings have their merits, and it would be as absurd to find fault with Miss Kellogg for not possessing those deep, low notes, with which her Italian sisters so easily express lyric emotion, as to blame the latter for not always equaling in exquisite purity of intonation and grace of movement our own favorite singer. In the latter portions of the opera Miss Kellogg rose with the demands of the piece, and was very effective. In the Amor sul ali, the Miserere scene, and the plaintive death wail with which Leonora, swan-like, dies, she was touching and pathetic.

“This beginning, to her, of a new phase of lyric action gives a happy promise for the future. It was foreshadowed by a recent admirable personation by the young prima donna of the part of Paolina in Donizetti’s opera of ‘Poliuto,’ an opera, by the way, which is announced for next week.

“Miss Kellogg has lately been subjected to severe and at times unfair criticism. It will not be to her an unmixed evil, if it proved to her that the public is exacting in its demands on even well-established favorites, and requires constant progress even from those whom it delights to admire and honor.

“Our remarks on the prima donna of the evening leave us little space to speak of other features of last night’s performance. Brignoli, of course, received a cordial welcome, and he preserves his voice with such tender care that it seems to-day as fresh and luscious as it was a decade since. In the opening serenade was the only defect of his vocalization. The phrase bello di casta fede was a bellow indeed. The great aria of the third act and the entire music of the last Brignoli resumed his position as the ‘Manrico’ of the New York operatic stage.

“Madame Gazzaniga took the part of Azucena, and personated it most artistically. There was a compressed intensity in her rendering of the stride la vampa that seems to us far better in accordance with its sentiment than the noisier style in which popular contraltos sing it. The rest of the cast savored of mediocrity.”

14)
Review: New York Sun, 17 May 1870, 1.

“Last evening was the first of the new season of Italian Opera under the direction of Mr. Albites, and the beginning was in every way successful. A crowded house received the old and new candidates for public favor with enthusiasm quite pleasant to witness. Miss Kellogg made her first appearance as Leonora in the ‘Trovatore.’ In a new part there should be many allowances made for the artist, but Miss Kellogg needed none. Her singing and acting were throughout intelligent and finished. Her only deficiency lay in the nature of her voice, which has not that wealth of power which makes the vocal wrath in the concerted music of the past in some other hands almost sublime. The solos of the first and second act have not been more effectively sung in the Academy than by this lady. Madame Gazzaniga Albites also made a début as Azucena, and presented in degree the opposite of Miss Kellogg. Endowed in an extraordinary manner with the plastic nature which can express the hights [sic] and depths of rage and woe she gave to the part a vitality it has rarely before received. Brignoli after a trip to California and the Southern States, reappeared in his old character—his voice showing no loss of power or purity. The debut of Signor Petrilli as Count di Luna was successful. He is a discreet actor. His voice is of medium power, but true and sufficiently flexible. He sang the solo of ‘Ill balen’ better than usual.”

15)
Review: New York Clipper, 28 May 1870, 62.

“At the Academy of Music Miss Clara Louise Kellogg made her first appearance as Leonora in ‘Trovatore’ on May 16th, before a house crowded in every part. Considerable interest was manifested, as Miss Kellogg’s appearance in a role so different from those in which she has achieved her greatest successes was calculated to create curiosity to see how she would acquit herself in essaying a such a novel situation. ‘Leonora’ is a role in which all the best dramatic artists of the lyric stage for the past twelve years have won their chief laurels. Power of voice, breadth of style and intensity of expression are required to give full effect to the part, and it was not surprising that those who had admired Miss Kellogg in such roles as Linda, Amina and the gentle Marguerete should be anxious as to her success in so different a character; but, as it turned out, there was no just cause to fear failure, as she achieved quite a noteworthy success, and not only acted with earnestness and feeling, but sang the music charmingly, developing a power of voice which surprised all present. Her best efforts were in her rendering of the Tacea Panotte and the D’Amor Sui, and in the Miserere she displayed unwonted spirit and power. Of the rest of the programme there is little to be said of a praiseworthy character. Brignoli was no better than before. Madame Gazzaniga acted as Azucena with spirit, but her singing was not what it should have been, and Petrilli’s Count was a vocal as well as a dramatic failure. The chorus was small and weak…The orchestra performances were good each evening.”