Maretzek Italian Opera: La Sonnambula

Event Information

Venue(s):
Academy of Music

Manager / Director:
Max Maretzek

Conductor(s):
Max Maretzek

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
29 August 2018

Performance Date(s) and Time(s)

13 Nov 1863, Evening

Program Details



Performers and/or Works Performed

1)
Participants:  Maretzek Italian Opera Company;  Hannibal Biachi (role: Rodolfo);  Fanny Stockton (role: Lisa);  Guglielmo Lotti (role: Elviro);  Clara Louise Kellogg (role: Amina)
2)
aka Sleepwalker; Nachtwandlerin
Composer(s): Bellini [composer]
Text Author: Romani

Citations

1)
Announcement: New York Post, 11 November 1863, 2.

"A Miss Kellogg will appear at the Academy in this city on Friday evening, for the only time this season, as Amina.

2)
Advertisement: New-York Times, 11 November 1863, 7.

3)
Announcement: New-York Times, 12 November 1863, 4.

4)
Advertisement: Courrier des États-Unis, 12 November 1863.

5)
Announcement: New-York Times, 13 November 1863, 5.

6)
Advertisement: New York Herald, 13 November 1863.

7)
Announcement: Courrier des États-Unis, 13 November 1863.

8)
Advertisement: New-Yorker Staats-Zeitung und Herold, 13 November 1863.

9)
Review: New York Herald, 14 November 1863, 6.

“We admit that here in New York, Verdi reigns supreme.  Still that Donizetti and Bellini have their admirers here also is proved by the immense audiences they draw.

[Sonnambula] abounds in melodies which have been taken possession of by organ grinders and itinerant musicians, so that at all times we have our ears offended with tortured semblances of these tunes.  Still they are so sweet, so attractive. . . .

As sung last night by the Maretzek troupe, the opera must ever prove most attractive.  Miss Kellogg has, in the role of Amina, a part exceedingly well suited to her style.  Her pure, fresh voice finds in Bellini’s music a field for legitimate success. She appears to advantage not only in singing, but in acting the role. Her execution of the aira ‘Come per me serene’ was really most pleasing. The ‘Ah non Giunge’ was brilliantly sung. In fact throughout the opera Miss Kellogg was very successful. Her voice gave proof of great flexibility and cultivation. . . .

Signor Lotti, who sang the role of Elvino for the first time, was applauded.  His voice, though not powerful, is very sweet, and were he to throw a little more animation into his acting he would succeed beyond his hopes. . . .

Signor Biachi was a grand Rodolfo. His splendid voice was heard to great advantage in all the concerted music. . . . [T]he opera was a great success.”
10)
Review: New-York Times, 14 November 1863, 6.

“The distribution last night was in all respects good.  Miss Kellogg is one of the most graceful and charming Aminas now on the stage.  The music lays easily within the best parts of her voice; her execution of it is in every respect neat, modest and effective; her dramatic rendering of the character is in the highest degree pleasing. . . . Throughout the performace she was in admirable voice.  Signor G. Lotti was the Elvino.  This gentleman’s efforts have been confined heretofore to German opera.  It was only in ‘Macbeth,’ under Mr. Maretzek, that he gave the promise of a career.  The sweet quality of his voice—assisted perhaps by the entourage—astonished and pleased every one. . . . He succeeded remarkably.  Visibly nervous, he contrived to reserve his best strength for the second and third acts, where strength is most required.  There are few tenori-de-grazia now before the public with more acceptable voices that Signor Lotti. . . . Signor Biachi was a good Rudolpho, and Miss Fanny Stockton, although too timid to do full justice to herself, sang the music of Lisa with ability.  The orchestra and chorus under Mr. Maretzek were both admirable.”

11)
Review: New-Yorker Staats-Zeitung und Herold, 14 November 1863, 8.

“The roles of ‘Amina’ and also of ‘Elvino’ do not require much acting, although ‘Elvino’ does more so.  Miss Kellogg performed with taste and grace.  She used a light and bell-like voice for the lovely first Andante and for the Cabaletta.  She also used her voice very effectively, with sensitivity for nuances.  Mr. Lotti, however, did not quite find himself in his part and seemed less flexible and confident vocally; the duet at the end of the first act he almost completely threw off.  Mr. Biachi sang the ‘Count,’ which was actually meant for Bellini, with skill.”