Maretzek Italian Opera: Marta; French Benevolent Society Benefit

“To include a “musical intermede.”

“An interesting performance of ‘Marta’ was given at the Academy of Music, last evening, by Miss Kellogg, Señorita Sanz, Signor Vizzani, and M. Jamet. The entertainment was intended to augment the funds of the French Benevolent Society, and, judging from appearances, the object was attained. Of the recital it is not necessary to say much. The merits of Miss Kellogg’s personation of Lady Henrietta are well known, and M. Jamet was credited by everybody, during the Nilsson season, with an elaborate and agreeable picture of Plunkett. Señorita Sanz had not until last night, however, been heard in the rôle of Nancy, and that gifted and industrious contralto has had so few opportunities of distinction afforded her this year that it is really pleasant to say that she profited by the first supplied her, and acted and sang capitally throughout the opera. ‘Esser mesto,’ Señorita Sanz’s single solo, was executed with much sentiment and finish. Hoarseness prevented Signor Vizzani from producing the impression his fine voice and unaffected delivery have, of late, frequently wrought. But the merit of his rendering of ‘M’appari’ was clear in spite of the tenor’s indisposition, and a repetition of the air was only escaped on the expressed plea of utter exhaustion. The representation terminated with a miscellaneous concert, in which Signori Moriami and Abrugnedo, M. Coulon and Mme. Levielli took part.”

“The French Benevolent Society, one of the most useful and practical societies, indefatigable in aiding their countrymen, got up an Italian opera [last] night for its benefit, and ‘Martha’ was selected for the purpose.

The French have so long held the first place in the world with regard to everything that concerns taste, grace and fashion, that it will surprise nobody to hear that the Academy last night much more resembled a salon du grand monde than a public space of amusement. So great was the display of elegant and tasteful dresses, fashionable ladies, courteous manners, that, look where you might, you saw them walking, sitting, and above all talking, with that abandoned and that distinguished je ne sais quoi that belongs to the Frenchwoman alone, and which she has developed into the proportions of real art.

So much for the delighted eye before the curtain rose. Now for the feast of the ear.

It is now about thirty years ago that a young nobleman—a gentleman handsome and elegant—arrived in Vienna, with a friend of his, young, handsome and genial, too, who had written a libretto, to which the nobleman had written the music.

The composer, Herr von Flotow, gave the score to the Imperial Kärntnertor Theatre, and modestly waited the result.

Like Lord Byron he awoke one morning and found himself famous.

The opera was represented, as it never will be again, with such an ensemble—the Vienna chorus and orchestra—that it took the public by storm; though the learned ones—and they are numerous in Vienna—pretended to see in ‘Martha’ nothing but quadrille music, polkas, and so on. The popularity of the opera after the second night was undoubted, and there is scarcely an operatic stage in Europe where it has not been performed, and nearly everywhere with great success.

The work is full of melodies, lively, flowing easily and naturally, readily catching the ear, and having all the charm and the beauté du diable of their composer. So specially true is this of ‘Martha,’ that it alone of all of Flotow’s operas, excepting ‘Stradella’ and ‘L’Ombre,’ has survived to the present day. ‘Martha’ was composed for and sung by Anna Zerr, one of the most extraordinary voices with three full octaves; Therese Schwarz, a splendid actress with a rich contralto; the tenor Erl, and Carl Formes, who afterward won laurels in this city.

Miss Kellogg last night looked, acted and sang the part with particular ease, with more liveliness, grace and [illegible] than we have seen for a long time. In the trio of the first act and in the celebrated quartet of the second she left all the D’s out; and it is difficult to see why so great an artist has not some one to make her a better cadenza to replace the staccato notes, which are too high for her compass, and the effect of which compares by no means with the indifferent passage substituted.

Her costumes are charming, and she came out as an actress to much greater advantage than usual. She gave the right expression to the music, though the movements taken were nearly all wrong. Moreover, we would have preferred hearing ‘The Last Rose of Summer’ as it is, and not as Flotow has disjointed it, but in its real national type, which Mendelssohn has religiously respected. This Irish air, which Flotow has incorporated in his opera with as little [illegible] as Thomas put Miss Nilsson’s Swedish airs in his ‘Hamlet,’ has in every country met with the greatest success; and it is but just to say that Miss Kellogg sang it in a soft, pure, delicate style. The public were rather inclined to award honors and distinctions liberally, and Signor Vizzani and Mons. Jamet shared in the same degree of the public approval.”