Kellogg English Opera: Faust

“Miss Kellogg last evening sang Marguerite in Gounod’s ‘Faust,’ the recital being the third of the series now prosperously progressing at the Academy of Music. Few personations are better known to the public than Miss Kellogg’s view of the character, for the lady, was, we believe, the first Marguerite in America. Her création was for a long while regarded as a remarkable effort, and it is still to be commended for its simplicity and grace as a dramatic picture, and for its correctness and elegance as a lyric performance. At present it is impossible to avoid a comparison between Miss Kellogg’s Marguerite and the two perfectly distinct, and withal perfectly consistent and highly but truthfully colored pictures of the personage by Mesdames Nilsson and Lucca. The American songstress suffers by the parallel; she has neither the magnetism nor the voice nor the powerful dramatic impulses  of either of the foreign artists, and her Marguerite, if placed beside theirs, at once falls into the second rank. As English opera addresses itself to a special class of theatre-goers, it is possible, however, that by many spectators no comparisons are drawn. The case, we may add, is one in which it may with propriety be observed that where ignorance is bliss it were folly to be wise. Vocally, Miss Kellogg’s work is unexceptionable, and, histrionically, her Marguerite denotes more sensibility than any rôle she assumes, and has the excellences of an unusually thoughtful and studied representation. Its best liked points need but a brief reference; they are, as formerly, the ‘jewel scene’ and the subsequent duet, the ecstatic verses suggested by the discovery of the casket offering particularly convincing proof, if such were needed, of the brilliancy and purity of Miss Kellogg’s method. We were not pleased with the church scene, in which Mme. Lucca made an ineffaceable impression, and to which Miss Kellogg’s physique is unequal. The Faust of the night was Mr. Maas, who acquits himself respectably of all his tasks; the Mephisto was Mr. Peakes, who ought not to spoil a really clever imitation of his betters by such Punch and Judy laughter and contortions as accompanied the close of the serenade; Valentine found an efficient and most gifted performer in Mr. Carleton, and Siebel was acceptably rendered by Miss Beaumont.”

“At the Academy of Music last evening Gounod’s ‘Faust’ was given by the Kellogg English Opera company before a large audience. Miss Kellogg appeared as [see above for performer listings]. Miss Kellogg was favorably received by the audience, and performed the part of Marguerite in her accustomed manner, which has been frequently discussed. Her voice was in good condition, and she sang well throughout the opera, except once, when a high note of inferior quality was increased in power and became unpleasant to endure, but with this exception her management of the voice was commendable. Miss Beaumont and Mr Carleton were applauded, and Mr. Peakes acted and sang so well that he received marked attention. The serenade was encored. Mr. Maas accomplished all that was expected of him, and by his artistic performance proved that he was fully entitled to undertake the important part with which he was entrusted.The choruses were all well sung, and they were not curtailed. The orchestra, however, seemed too weak and too thin to do justice to Gounod’s elaborate instrumentation, and the omission of the part for the harp left blanks which should have been filled up.”

“Nearly sixteen years have elapsed since Gounod first gave to the world his masterpiece in operatic writing, ‘Faust.’ It stands to-day the best specimen of the modern French school that can be placed before the public, and it gains every year in popularity. Of course the composer had an exceptionally fine subject to inspire him—the immortal creation of Goethe—and although the original suffered sadly at the hands of the French librettist, as did Mignon some years later, yet very presentable materiel was furnished to the composer, which his genius moulded into a lyric structure of surpassing beauty. Nine years before Gounod’s work saw the light in 1850 Spohr’s opera on the same subject was produced for the first time at Covent Garden, London, with the composer in the conductor’s chair. Mme. Castellan, Tamberlik, Ronconi and Formes appeared in this opera, Ronconi taking the title role, and fine as the music was and correspondingly rendered, the work proved a total failure. The stupidity of the libretto and the small importance attached to the rôle of Marguerite may account for the non-success of a work on which a great genius bestowed his best efforts. Spohr’s ‘Faust’ disappeared forever from the public gaze when his French successor in the same line established his work as a permanent favorite. And yet there is a wide difference between the two Fausts in musical value, that of the German master being more artistically constructed and abounding in thoughts akin to the great original. The great popular merit of Gounod’s work is the lyric beauty which he throws around Gretchen, and it is no wonder that the aim of every prima donna to-day should be to present a model Marguerite to her admirers. Miss Kellogg has the honor of creating the rôle in this city, and although she has had many eminent successors, yet the charm, artistic finish and freshness of her impersonation remain unrivalled in public estimation. It seems also to be a favorite rôle with her, one that she secludes from her extensive répertoire and jealously guards as something more tender than the rest of her art. Year after year she has added to the charm of her Marguerite, and there were many pretty little surprises in her rendering of the rôle last night, even to those who had seen her in it many years ago. The meeting with Faust in the market place, in which the demure maiden returning from church experiences the first feeling of love; the coyness, fear, love, anxiety and rapture of the garden scene, in which the evils of the tempter overcome the reserve and purity of the maiden; the despair, honor and woe of heart that follow the death of her brother, struck down by her betrayer and cursing her with his latest breath; the agony of the church scene, in which her prayers for mercy are turned into mockery by the fiend who stands between her and forgiveness, and the last dread scene when heaven at length receives her, and sorrow and pain are past, were delineated by Miss Kellogg with that vividness and power that belong only to the higher order of lyric art. The church scene was the most impressive realization of the unhappiness of Gretchen that has been presented on our stage for a long period. Miss Annie Beaumont appeared as Seibel, and acted and sang the part admirably. She is a graceful, experienced actress, and has a clear, sympathetic, well cultivated voice. Mr. Peakes proved to be a Mephistopheles of undoubted excellence. He was a polished, gallant and accomplished devil, and one calculated to do a great deal of mischief. Mr. Carleton’s fine ringing baritone voice gave effect to the rôle of Valentine, and Mr. Maas was a commendable Faust, singing the music smoothly, but occasionally apathetically. The performance, generally speaking, was a highly creditable one, and proved the caliber of the company in a very satisfactory manner.”