Albites Italian Opera: Faust

Gounod’s opera was repeated last night, with a very important change for the better in one of the leading rôles. Susini took the part of Mephistopheles and made a very creditable show with it. When Susini is in good voice, a very rare occurrence with him, there are few bassos on the stage [who] can compete with him. Last night he was himself, and acted and sang commendably. Miss Kellogg’s Marguerite never shone forth with such lustre, and this real, reliable, true American artiste made a success, such as even astonished the habitués of the Academy. She is the most conscientious artiste that has sung in this building for many a year and it will be difficult for any European importation to match her. Villani did better than before, although his voice is that of a worn-out tenor. His voice never can again have spontaneity or brilliancy, but the artist phrases and conceives the scene and situation such as gives entire satisfaction to the audience. Regarding the contralto, Mme. Himela, we can only repeat our first opinion—she is not calculated to make any impression as Siebel. The orchestra, as far as we know, is identically the same as has officiated in the Academy for many Italian opera seasons, and the materiel can be brought to some degree of excellence. But Signor Nicolao, unfortunately, does not possess the first quality of a conductor, and to him alone can we attribute the failure throughout the season of this important branch of the opera.”

“’Faust’ was repeated last night at the Academy of Music to a large but not enthusiastic audience. Miss Kellogg, whom we have so often commended for her exquisite personation of Marguerite, sang, acted and dressed in a manner to satisfy both the popular taste and critical judgment. In the duet of the last act she was especially effective. Otherwise the rendering of the opera was not striking. Villani sang with conscientious care, and at times gave real pleasure to the listeners. Orlandini was fair as Valentine. Susini as Mephistopheles and Himela as Siebel were not equal to many of their predecessors in their parts.”

“It was the original intention of Mr. Albites to give a fresh opera on each night of his brief season. But it often happens in these matters that managers propose, and the public dispose. The overflow on the first night of ‘Faust’ was something quite marvelous to behold, and the repetition of that opera was thus in a manner forced on the director, whether he would or no. Last evening was, in almost every sense, an exact reproduction of the first performance. The Academy was crowded to excess, the opera was sung much to the general satisfaction, and the only regret heard was that ‘Faust’ could not this season been repeated once more. Mr. Albites crowns the record of his faithfully-observed promises to the public, by closing his season in strict conformity with the advertisements.”

[The remainder of the review elaborates the remaining performances and the company’s plans to travel to Philadelphia and Boston; encouragement of those cities to support the enterprise.]