Kellogg English Opera: Ernani

“The rendering of ‘Ernani’ at the Academy of Music, last evening, was not on a plane with the previous representations of the series. Verdi’s opera can only be made acceptable to a modern audience by a recital of uncommon excellence, and besides, last season and this year there have been some really noble performances of the work, which could not but seriously injure the effect of anything less notable. Hence the results attained yesterday were decidedly disappointing. Mrs. Van Zandt sang bravely and brilliantly, though with more force than finish, through the music of Elvira; Mr. Castle, who has not yet recovered from his recent illness, personated Ernani with unfailing earnestness, and Mr. Carleton’s fine voice sounded as rich as ever in the music allotted to Carlo Quinto, but elegance and dignity were sadly wanting in every detail of the picture, and, of all operas, ‘Ernani’ is the one which can least afford to part with the romantic color which clever Italian rehearsals still bestow upon it. The artists mentioned above, however, acquitted themselves creditably of the duties imposed upon them by an unwise management; Mr. Peakes, as Don Silva, was quite unequal to his rôle, and did not make up by overacting for an absolute want of voice and vocal skill.”

“At the Academy of Music last night Verdi’s opera ‘Ernani’ was performed in English by the Kellogg Opera Company. The attendance was not particularly encouraging to the management, but those assembled were evidently determined to give assurances of esteem to the artists, for the applause was frequent and hearty. The performance was highly creditable to those engaged in it, although the opera has been presented in grander style on other occasions. The orchestra, being small, makes the instrumentation of Verdi occasionally appear exceedingly meagre and thin. It is only by the numerical strength of grand orchestras that the requisite sensuous fullness of tone can be produced in these early works of Verdi. The choruses, however, were sung so vigorously, and with such agreeable, fresh voices, that the weakness of the orchestra was in a great measure atoned for in the concerted pieces. The opening drinking chorus of rebel mountaineers and banditti was well delivered. Mr. William Castle on his entry as Ernani was warmly greeted, and he sang the opening song with fervency and considerable display of feeling. Mrs. Van Zandt was also well received, and at once made a good impression in the brilliant and popular melody of the fourth scene. Mr. Carleton as Charles the Fifth and Mr. Peakes as Ruy Gomez were equally successful, and sustained their parts throughout the opera very creditably.

Mr. Carleton would have succeeded better in his song in the ninth scene of the second part had it not been for the vulgarity of the orchestration. Occasionally the cornet was employed to reinforce the melody he was singing; and as in the nature of things the uncompromising brass remained indifferent to the delicate inflexions and varied modes of expressions employed by the singer, discrepancies were the inevitable result. This was a shortcoming on the part of the composer; but when Mr. Carleton, at the end of the third division, was accompanied by the pianoforte instead of the harp, this inefficient substitution was a defect in the performance. The concerted piece which follows this song was particularly effective, especially at the point where the unisonal passage breaks forth into full harmony.

[Announcement of forthcoming performances by the company].

The parts are well balanced and the operas are given with smoothness throughout. The performers, being well acquainted with their parts, do not depend on the prompter, and even the chorus singers seem wholly independent of assistance from the orchestra.”

“Why the least popular and certainly most unadaptable opera of the Italian school should be placed in the répertoire of an English opera company and be given to a New York public, is one of those mysteries that might be consigned to a Brooklyn Court for elucidation. Certainly it has no possible affinity with English opera, and although at its presentation last night there were many points of artistic excellence, notably the excellent manner in which Mme. Van Zandt portrayed, vocally and histrionically, the heroine, Elvira, yet the performance was not of a satisfactory nature, generally speaking. It would be well to substitute for those Italian and French works such operas as ‘The Lily of Killarney,’ ‘The Desert Flower,’ ‘Lurline,’ ‘Rip Van Winkle’ and other operas of the true English standard. It is ridiculous to call ‘Ernani,’ ‘Il Trovatore,’ ‘Mignon’ or ‘Faust’ English operas, and it is certain that those works cannot be presented in a translated form with any degree of artistic effect. Miss Kellogg occupies a very prominent position at the present day as the leader of the lyric art in our own language. She should abandon all translated versions of operas and adhere to the magnificent répertoire of true English opera, as illustrated by Balfe, Wallace, Barnett, Benedict, Sullivan and Bristoro [Bristow]. The English opera has no possible affinity with the works, generally speaking, which have been produced this season—certainly not with such a screaming bawling affair as ‘Ernani.’” 

“In ‘Ernani’ we were presented with the least commendatory performance of the season. The exacting dramatic demands of this opera proved to be beyond attainment by this troupe, and it would have been most uninteresting and fallen below mediocrity but for a few especial points of merit. Mrs. Van Zandt as Elvira gave considerable dramatic expression to the role, vocalizing most effectively and offering a rendition of the part that proved to be quite acceptable; While Mr. Carleton as Don Carlos, although lacking in impressiveness, presented a careful musical exposition of the character. Otherwise the interpretation lacked dramatic expression, and in its general effect was unsatisfactory.”