Maretzek Italian Opera: Linda di Chamounix

“There was a poor attendance last night at the Academy of Music, although the opera of ‘Linda di Chamounix’ is certainly pretty enough to be popular, and of late years has been but little performed. It affords Miss Kellogg an opportunity to show the qualities which constitute her chief claims to distinction both as an actress and a singer. The music suits her, and the situations, though colored sometimes by considerable dramatic passion, do not exact that broad [declamatory?] and tragic bearing which Miss Kellogg is somewhat over fond of attempting. Her performances are thoroughly admirable, and her vocalization, especially in the ‘O luce di quest’anima,’ and other [illegible] numbers, called for the warmest commendation. She was supported by the following cast [see above].”

“’Linda di Chamounix’ was sung at the Academy of Music, last evening. The opera is a familiar one; but either on account of a lack of picturesqueness in the story, or a paucity of salient numbers in the score, it does not hold the place in the repertory which its author’s name would seem to entitle it to. As in former years, Miss Kellogg, last night, represented Linda. The part is a difficult one in respect alike of the singing and acting it requires, and when we say that it was filled with fidelity and effect, we intend to imply a good deal more than would be expressed by kindred terms applied to many characters whereof the assumption is more widely appreciated. We can compliment Miss Kellogg on yesterday’s work, and, as usual, we can compliment her most upon that portion of it which depends chiefly upon the vocalist. We are, therefore, able to say that the difficult opening cavatina, known as ‘O luce,’ was exquisitely sung, admitting, however, some disappointment at the prefatory and exceedingly expressive and charming recitative, commencing ‘Ah, tardai troppo;’ and to declare the duet in act the first act with Carlo, the duet in act the second with Il Marchese, and the third duet with Antonio capital performances, while, vocally, the remainder of the lady’s share of the entertainment was, if less prominent, quite as creditable to her talent as a musician. In the highly dramatic incidents of the second act, when Linda learns form Pierotto the intentions of her lover, and straightway becomes demented, Miss Kellogg approved herself a painstaking and an earnest, if not a very powerful actress. The other rôles in ‘Linda’ were taken by Señorita Sanz, and Signori Vizzani, Moriami, and Ronconi. Miss Kellogg was called before the curtain after the second act had terminated.”

“This charming, melodious work of Donizetti, which is nowadays so seldom given on our boards, was brought out last evening for the first time in many years, Miss Kellogg appearing in the title rôle. The rest of the cast was as follows [see above]. The performance was in many degrees smoother as an ensemble than the majority of its predecessors. In such music Miss Kellogg seems to be entirely at home and appears to the best advantage. Her first aria, ‘O Luce di Quest Anima,’ the joyous outburst of a young heart, was given with an effect that brought a really enthusiastic encore, and she was called before the curtain at the end of the mad scene by an expression of more real warmth than what an artist generally finds in an Academy audience. There were some notable excellences in other parts of the opera, especially in the duet with Pierotto, ‘Ah! Bel Distin,’ and in the duet at the beginning of the second act with the Marquis, Señorita Sanz had a favorable opportunity of displaying the sympathetic qualities of her contralto voice, and she availed herself of the occasion. The tenor gave more satisfaction than usual, and sang his first romance commendably. Moriami was also in good voice, but in the scene where Antonio denounces his daughter he overacted it to such an extent that he nullified the effect of the situation. It is a pity that this opera, so intimately associated with the names of Persiani, Jenny Lind, Laborde, La Grange, Gazzaniga, Patti and Di Murska should not be heard here more frequently. It is written in Donizetti’s happiest vein, and sparkles from beginning to end with delightful melodies. The story is an interesting one, too, corresponding with one of Miss Maggie Mitchell’s favorite characters.”