Albites Italian Opera: Faust

“The popularity of Miss Kellogg’s Marguerite was shown last night to a remarkable degree. Nothing else could have caused the rarely used sign, ‘Standing room only,’ to be exhibited at the entrance to the Academy, or have filled the boxes, parquet and dress circle with the fashion and beauty of Manhattan. It is, indeed, an extremely rare case in which the Irving Place Opera House is crowded to such an extent, and Miss Kellogg certainly deserves all the credit, for to no other artist in the cast is unqualified praise due. Villani certainly made a good deal of the title rôle, and his Salve dimora narrowly escaped an encore. Yet there was a lack of that passion and reckless love which produces such an electric effect in the hands of some first class tenors. Miss Kellogg, we are constrained to say, was alone worthy of praise. Signor Villani seemed to have made it a point to carefully exclude all acting from his rôle, and he walked through the part with a nonchalance that was positively provoking. Miss Kellogg sang and acted the garden scene, and the last scene in which the death of Marguerite is represented with a fervor, naturalness and artistic finish that places it among the best of her rôles. Mme. Laura Himela made her début as Siebel, and a very unsuccessful and unsatisfactory one it was. Even the La parlate d’amor, in which every contralto makes some success, was rendered by her in a style that completely annihilated any merit in it. We are constrained to say that Mme. Himela made a total failure on the occasion of her début, and we trust that she will do better the next time she appears. Orlandini was the Valentine, and he seemed to be overcome by some unaccountable depression or lassitude, for he did not even attempt to make anything of the part. We have reserved the Mephistopheles for the last, as a worse performance of it has never been before our experience to witness as that of Signor Reyna. His very appearance and acting were not in accord with the part, and, except in a few occasional notes, he never succeeded in keeping in time with the orchestra. We have already spoken of the quality of his voice and have no reason to change that opinion. Signor Nicolao made sad havoc with the orchestra and the choruses, for even the well known ‘Soldiers Chorus’ was fairly butchered. At the end of this well known morceau the conductor forgot that there was an ad lib pause, and brought down his baton before the chorus could recover from their prolonged shout. The score, to add to all the foregoing, was cut and slashed in such a reckless manner that to follow it with the score was an utter impossibility. We are sorry for Signor Albites to be obliged to record the non-success of an opera which drew the best house of the season. To Miss Kellogg, as we have said before, the only credit is due for making the part of Marguerite a grand success and redeeming more than half the inefficiency of her surroundings.”

“The Academy was packed last night, in every nook and cranny, with a brilliant audience eager to greet our favorite prima donna in her favorite impersonation. At some time before 8 o’clock the discouraging placard, ‘Only standing room,’ warned the ticketless against entering with baseless hopes of seats; while the dense fringe of ‘standees’ around the walls, lobbies, and entries, with the gorgeous flower-bed of multicolored toilettes in balconies and boxes, must have warmed the hearts of the old opera-goers with hopes of seeing the glories of their youth revived. But hope and fulfillment are two. In the very tempered commendation which can fairly be given to last night’s representation there lingers little savor of that delicious sense of artistic grandeur and completeness with which the music lover erewhile yielded to the sway of Salvi and Mario—of Lagrange and Bosio, and Alboni.

“Miss Kellogg sang, of course, delightfully. There is in the role of Margherita, both in action and music, a prevailing element of virginal simplicity and sweetness—a soft neutral tone of character gradually warming and blushing under the roseate tints of awakening affections—which Miss Kellogg is especially fitted, by temperament and personality, to present. Her opening recitative was exquisitely delicate and appropriate—pure in tone as the notes of a silver bell, distinct in phrasing, and deliciously tender and sympathetic in its soft, dying vibrations. Not less sweet was the thoughtful melancholy of the spinning-wheel song, or the childlike delight and simple vanity of the jewel scene. If we miss, in the love scene before the cottage, a shade of passionate warmth in music and demeanor, it is to the credit of the chastened taste which keeps within limits, and prefers the certainty which lies in reserve to the dangers of superabundance.

“Villani, in Faust’s opening scene, was a little cold and embarrassed in declamation and singing, but warmed with the action, and in the first aria before Margaret’s window—in the third act—sang charmingly, with real grace, simplicity and feeling. His later music in the same scene was somewhat impaired by his faulty method and singular uncertainty in attacking and holding his sustained notes. Of course, of acting there were no traces, but it may be said to his credit that he walked through the part meekly, and was led around by Miss Kellogg with lamb-like patience and submission.

“Reina made an unsatisfactory Mephistopheles with his hard and uncertain method, and unresonant yet metallic tone. Of course if he had sung in perfectly correct tune, he would have been more or less than man—and basso.

“Mme. Himela, who made her debut as Siebel, has a high contralto, somewhat worn, and lacking color, strength and roundness. She did not last night display, either in execution or in acting, any qualities which call for especial comment, and more minute criticism may appropriately be postponed to her later appearances.

“The chorus were in somewhat undisciplined condition, and distinguished themselves by singing the ‘Soldiers Chorus’ curiously and wonderfully ill.

“Nor was the orchestra in much better condition. The brass was jubilant as ever, and the want of rehearsal, for the whole orchestra as for the chorus, uncomfortably apparent. It does not add to the effect of a melting love scene to have the tender strains of the enamored [lover?] blended with a running accompaniment of [illegible] leader audibly ‘blowing up’ an erring and non-repentant first violin.

“But after all we have had Italian opera again—that is [illegible] gained, and in the joy of getting [illegible], we have had to forget our longings for what we have not.”

“A house literally overflowing greeted the production of Gounod’s Faust on Friday at the Academy. It was not only impossible after 8 o’clock to find a seat, but even to squeeze into the auditorium at all. We are not quite clear about the numbers in the upper galleries, but, if they were commensurate with those in the parquet, the grand tier and family circle, the Academy was probably at least as full Friday as it has ever been on any previous occasion. This being the sixth opera of Signor Albites’ season, the turning point in its fortunes may be said to have been reached. We are glad to say that the event is signalized by the assurance of success. In a word, without any very startling material, but with a collection of respectable artists, a good chorus and a fair orchestra, the director has triumphantly tested the fact whether with due respect paid to its taste and good sense the public of New-York will sustain Italian opera. Signor Albites has kept his word with the public, and the public have always shown that they know how to reward a species of fidelity with which of late, so far as the lyric drama is concerned, they have had little acquaintance.

“Inspired no doubt by the really magnificent assemblage before them, the artists on Friday quite surpassed their previous efforts. Miss Kellogg’s exquisite study of Margherita was never more admired, and never better deserved such appreciation. The lady’s voice was in its best trim, and responded to the demands made upon it with uniform sweetness, ductility and vigor. Signor Villani is a Faust of far superior caliber to any lately heard here. Too often the part has been assigned to the second tenor of the company, with the usual result of seriously impairing the dramatic interest and weakening the musical effect. Signor Villani, being a thoroughly responsible singer, if not an actor of exceptional power, steadily retains the attention of his auditors and sometimes wins their hearty applause. In the most exacting and popular numbers of Faust he evinced much taste and feeling, and the charming passages of the garden scene have never received here more melodious and satisfying treatment. Signor Orlandini, not being overweighted in Valentino, retained his voice in normal fullness and freedom until the death scene, and happily escaped the huskiness that sometimes betrays him at critical moments. We regret to find fault with an experienced and conscientious artist, but Signor Reina sang so much out of tune at times in Mephistopheles as sadly to mar the effect of his painstaking, and occasionally striking, dramatic efforts. Mme. Laura Himela, the Siebel, made her first appearance in New-York. This young lady comes to us from Berlin. She has a fine presence, a cultivated mezzo-soprano which extends downward so as to include the ordinary contralto range, and for her years considerable knowledge of the stage. The lady was kindly received and will become a favorite. We would say of Signor Nicolao, with every desire to do justice to his abilities, that his conduct of the orchestra too generally smacks of superfluous violence, and that energy of this sort that is not born of genuine artistic passion, besides the danger of running into absurdity, is often extremely prejudicial to legitimate orchestral color and accuracy. Unremitting and uniform vigor of this sort is apt to obliterate the nuances which are at once the composer’s greatest pride, and the listener’s keenest pleasure. With this passing comment and the hint that a slight improvement in the ballet would be beneficial, we have only to add of this performance of Faust, that it was, on the whole, heard with much gratification, and that it might be repeated with profit.”