Kellogg English Opera: Maritana

“There was an overflowing audience for ‘Maritana’ last night, and it may now be considered certain that Miss Kellogg’s labors, so far as New-York is concerned, will be amply rewarded. Her venture arouses an unexpected popular interest, and is applauded with such extreme cordiality that we may look upon the prospect of the permanent establishment of English opera as flattering indeed. ‘Maritana’ was always one of the most successful works in the repertory of poor Madame Rosa’s company, and many sad reflections mingled last night with the pleasant memories which its pretty strains recalled. The performance was an agreeable one; we can hardly call it smooth, but it was spirited and entertaining, and presented several points of notable excellence. The Maritana, for instance, of Mrs. Vanzandt left little to be desired, for it was graceful and vivacious, and the music was given with care and sentiment. Mrs. Seguin lent to the character of Lazarillo her usual charm, and both ladies were most warmly applauded. The new tenor, Mr. Wilford Morgan, who took the part of Don Caesar, has a pleasant and well-trained voice, not capable of any startling effects, but true and rather sympathetic. In consequence of the illness of the baritone, Mr. G. F. Hall assumed the role of Don José, and Mr. Peakes that of the King. The chorus and orchestra were better than on Thursday night, and the general effect of the representation more symmetrical.”

“Mme. Van Zandt’s performance of Maritana, in Wallace’s pretty opera of that name, attracted to the Academy of Music last evening the largest audience assembled since the outset of the season. The representation was, in many respects, a very creditable one, and in so far as Mme. Van Zandt was concerned, it was decidedly brilliant. Mme. Van Zandt scarcely requires an introduction to American play-goers, who, from last night’s hearty welcome, have clearly learned to appreciate her work. It is not amiss to say, apropos of her reappearance, however, that her voice, which is both powerful and sweet, is finer than ever; that she manages it, if not with the marvelous skill of which a very few songstresses only can boast, at all events with a cleverness secured by the best of schooling; that she sings with much expression, that the English text assigned to her for recital is, thanks to an admirable articulation, genuine English; and finally, that she acts with intelligence. These qualities are rarely united in a prima donna, and it is no wonder their fortunate possessor should enjoy the favor which Mme. Van Zandt’s reception and success showed to be hers. There is in ‘Maritana’ an abundance of tuneful numbers, and although they are numbers of an appreciable sort, they go hand in hand, almost every one, with accompaniments full and elegant in form. Mme. Van Zandt endowed the heroine’s share of the work with a charm that would, doubtless, have satisfied Wallace even, had that regretted composer lived; and the gracefully-acompanied romance in the first act (‘The Harp in the Air,’) and the air in  the third (‘Scenes that are Brightest,’) were, among less distinctive passages, productive of the happiest effect. Worthy of mention with the lady’s exertions were those of Mr. Wilford Morgan, who, until yesterday, was new to us. Mr. Morgan’s voice has greater volume than that of the (by comparison) tenor di grazia of the company, Mr. Maas, but we prefer the quality of the latter’s tones, and wish that Mr. Morgan’s were brought forth with less effort. Mr. Morgan, be it noted, has several advantages; he is evidently a capital musician and a singer of experience, so that he conceals with an art quite legitimate his most serious vocal defects. Mr. Morgan’s acting, which was above the plane of acting in English opera as generally rendered, and his tact as a vocalist, made his début thoroughly satisfactory. ‘Let me like a soldier fall’ (transposed a semi-tone, as was the trio preceding it) was redemanded, as was, also, by the way, Maritana’s air in the last act. Mrs. Seguin, we have further to say, was the Lazarillo, and sang and acted delightfully. After noting these points of excellence in the representation, we need not enter into further particulars. Mr. Hall who personated Don Jose, appears, we learn, in spite of continued illness, to assist the management in straits for a Minister of the requisite vocal profundity. Mr. Peakes, who portrayed the King, was only fit to play a monarch under the rule of a Spanish Commune. The chorus and orchestra were very proficient, and the concerted music was capitally executed.”

“That this form of entertainment has taken a sudden hold on our musical public is again shown by the crowded audience which filled the Academy of Music last night, when that favorite composition of the lamented Wallace, ‘Maritana’ was performed. The cast brought back to us as prima donna Madame Jenny Van Zandt, a lady who has gradually been developing from a novice, until last night she bloomed out as a thorough artist. Her high soprano voice, slightly acute, has been cultivated with great care of perfection. Her sotto voce, and prolongation of notes—what the Italians call fie di voce (a thread of voice)—are both admirable, and were frequently made use of in the music of ‘Maritana.’ A long-sustained high B won the instant appreciation of the large audience. We would specially commend Mrs. Van Zandt’s vocalization in the unaccompanied concerted piece, ‘What mystery,’ and in the ballad, ‘Scenes that are Brightest,’ which last was tumultuously applauded and encored. Altogether, Mrs. Van Zandt charmed, surprised and delighted her auditors, and will share with Miss Kellogg the popularity of the season.

Mrs. Seguin’s Lazarillo was another triumph for this favorite young singer, her principal ‘points’ being made in the trio, ‘Roll on, Old Time,’ the air, ‘Hark! those Chimes,’ and the duet with Maritana, ‘Holy Mother.’ Mr. Wilford Morgan, the new tenor, sang sweetly, though his voice is hardly of the calibre that is required for the dashing, rollicking part of Don Caesar de Bazan. Owing to the illness of the baritone, Mr. Carlton, Mr. Hall took the part of Don José and Mr. Peakes Mr. Hall’s part of the King of Spain.”

“The most popular of Wallace’s works was given last night at the Academy of Music, with the following cast [lists cast]. The house was a very full one, showing the appreciation of the New York public for English opera when properly presented. The performance, as far as real merit was concerned, was confined to the efforts of Mrs. Van Zandt and Mrs. Seguin, who achieved a success of the most flattering kind. The Maritana of the evening, who had to contend against the reminiscences of the greatest representative of the rôle we have ever had in this city, poor Parepa, whose memory will never fade in the minds of English operagoers, created an impression nothing less than that which Miss Kellogg left in the rôles of Lucia and Martha. The well known airs entrusted to the soprano were interpreted by Mrs. Van Zandt in a truly artistic spirit. Mrs. Seguin’s Lazarillo is too well known here to need extended comment. Her success last night was of the most emphatic kind. Mr. Morgan bears the closest resemblance to Mr. Castle of any artist we have heard in this city, but in his rendering of the well known song, ‘Let me like a soldier fall,’ he failed to reach that artist’s standard of excellence. His efforts in the early scenes of the opera were not satisfactory, but as he warmed up to his work he regained considerably what he lost at his first appearance. His acting of the character of Don Caesar was full of spirit and comic humor, and if his voice had been commensurate with his dramatic talent his impersonation would have been complete. But he failed to supply the vocal requisites of the rôle, and some of the best numbers fell flat in his hands. Mr. Morgan’s voice is agreeable in tone, but the style is rather crude and unfinished. Mr. Hall was a decided failure in the Mephistophelean character of Don José. There was not one redeeming quality about his impersonation. The other rôles were fairly filled, and the chorus and orchestra under Mr. Howson’s direction were admirable. Mrs. Van Zandt and Mrs. Seguin were the principal features of last night’s performance.”