Kellogg English Opera: Mignon

“There is not much to admire from a musical point of view in Ambroise Thomas’ setting of ‘Mignon.’ The music is not worthy of grand opera, and it should be returned to its proper sphere, the opéra comique. But so decided is the success which Miss Kellogg has attained in the title rôle, especially last night, so full of sympathy, expression and real artistic excellence that one would be inclined to pass over the incongruities of the adaptation from French to English, in view of the positive merits of the artists who appeared. The rendering of ‘Knowest thou the land,’ the swallows duet and the Styrienne was marked with that exquisite finish and thorough impersonation that characterizes the trained prima donna , in whom nature and art combine to form the complete ideal of the lyric artist. Not even with Nilsson or Lucca has the scene in the boudoir of Filina been represented with such effect as by Miss Kellogg last night. The recitatives were quite a drawback to the success of the opera, as the ineffectiveness of the Italian version was quadrupled in English. Better the original dialogue. Mme. Jennie Van Zandt is the best representative of the coquettish actress, Filina, we have ever heard on the stage, and not only in her rendering of the sensational polonaise, but in the many scenes in which she occupied a prominent position.”

“’Mignon’ was given at the matinée at the Academy of Music yesterday. The performance, which has been noticed at considerable length in these columns, does not exact further comment other than a mention of its very favorable impression upon an audience that filled every part of the house. Mr. Castle, we are glad to say, is fast becoming re-established in health, and his portrayal of Wilhelm was very satisfying.”

“The grand success of the season, so far, has been the production of Thomas’ ‘Mignon,’ in the title-role of which Miss Kellogg presents a characterization bearing the stamp, both musically and dramatically, of the highest talent. Entering with her whole spirit into the impersonation of the role, she presents a portraiture so thoroughly imbued with the impulsive nature of the little Mignon, now passionate, then tender and loving, and even coquettish, that the wayward one seems to step from the realm of dramatic fiction into reality. In the aria ‘Knowest thou the land?’ which she rendered with exquisite taste and expression, in the charming ‘Swallows’ duet, in the brilliant Styrienne in the second act, and in the various numbers in the third and fourth acts, more especially the lake-scene and the prayer, so  high a degree of vocal and dramatic ability is revealed as to place Mignon as the first role in her repertoire, and present her as the best exponent we have had before us as the little itinerant. Mr. van Zandt gave an exceedingly effective interpretation to the role of the coquettish Filina, especially executing the vocal pyrotechnics of the Polonaise in the second act with great brilliancy and effect. Miss Beaumont’s Federico was full of grace and spirit, and she vocalized in an excellent manner, notably in the aria in the second act, ‘Here I Am, in Beauty’s Room!’ Mr. Castle as Wilhelm can hardly be open to criticism, he laboring on each occasion of the production of this opera from the effects of illness, which prevented him from giving anything like a favorable interpretation of the role, and Mr. Peakes as Lotario offered a good rendition of the character of the old harpist.”