Maretzek Italian Opera: Martha

“Miss Kellogg will introduce in the fourth act the celebrated Venzano Valse.”

“Miss Kellogg is beyond doubt a most attractive ‘Lady Henrietta.’ That this is the opinion of the public was proved last evening by the fact that an immense and most fashionable audience crowded the Academy of Music to overflowing to hear Flotow’s chef de’oeuvre sung by the Maretzek troupe. This opera has been given here so often that it is needless for us to dwell upon the performance of last evening. We wish to state, however, that the artists achieved a well merited success, and to add that we hope soon to have the opportunity of enjoying a repetition of this favorite work.

            That Miss Kellogg has greatly improved both in her voice and acting was evident by her spirited performance last night. She sang the ‘Last Rose of Summer’ with so much sweetness and expression as to call forth an enthusiastic encore. In the spinning quartette she was very successful. In fact, throughout the opera she gave great satisfaction to the audience, which was testified by loud and continuous applause. Miss Kellogg sang the ‘Valse di Venzano,’ introduced as a rondo finale, in a brilliant manner. This morceau was really most admirably rendered. In fact, both in singing and acting her role, she achieved an enviable success.

            Signor Lotti made a most favorable impression upon the public last night. He sang the favorite romanza with great sweetness and expression, and was encored and much applauded. It is evident that this artist is destined to become quite popular. He was called out several times.

            We should have said above that Mlle. Sulzer was a most satisfactory Nancy—she sang most pleasingly.

            Signor Biachi made a grand Plunkett. He sang and acted the role admirably. As we said above we hope to have ‘Martha’ again very soon.”

“Last night Flotow’s celebrated pastoral ‘Martha’ was well received by a full house. Miss Kellogg’s charming naiveté, fine vocalization, easy abandon of impersonation and animated winning expression render her superior in this rôle to almost any artist we have recently heard, except perhaps Mme. Gassier. Rarely have the ‘Last Rose of Summer’ and the ‘Valse di Venzano’ been more sweetly and exquisitely rendered, and the former elicited an enthusiastic encore, as did also Lotti’s execution of the fine romanza in the third act, which was given with all that thrilling plaintiveness which have already made him a popular favorite. This piece, we observed, was somewhat transposed to suit the exigencies of the voice of the artist. Biachi was scarcely as successful as we anticipated. The performance of the chorus also was somewhat unequal, but that of the orchestra was all that the most fastidious taste could desire.”

“The opera of ‘Martha’ was the attraction last evening.  The house, although not crowded, was brilliant, and the ready and discriminating applause testified that it was composed of the right material.  We have rarely heard Flotow’s favorite work given to greater advantage.  Of Miss Kellogg’s performance of the leading rôle we have so frequently spoken, that there is only an opportunity now of recording that its repetition was a complete success.  There is no artiste in America who could play and sing the part so well, and we doubt if there is one in Europe who, in simple grace and quiet skill, could render it better.  Mlle. Sulzer, who was the Nancy, sang and acted with great spirit.  Signor Lotti was received with warmth, and improved the very favorable and even enthusiastic impression which he created in ‘Macbeth.’  Signor Biachi was thoroughly excellent in the great rôle of Plunkett.  We have not heard a better interpretation since the palmy days of Herr Formes.  The whole performance, indeed, was much above the usual standard.”

“On Friday Mr. Maretzek played Flotow’s ‘Martha.’  Miss Kellogg—whose position now is so well assured that she is past being overtopped by any prima donna in the country—was the Lady Henriette.  The performance was light, graceful and romantic—precisely what it ought to be.  There is a peculiar and indefinable charm about this young lady’s style, which in such characters is irresistible.  Signore Biachi, who heretofore has come to us in a flowing beard and a tottering gait, was a lithesome and good-looking Plunket [sic].  He sang well.  Mlle. Sulzer was the Nancy.  Her voice lacks character, and is heard disadvantageously in concerted pieces, but she is a good and reliable artiste.”

CEU 10/26/63 CHRONIQUE DE NEW-YORK “The infinite pleasure with which one heard Martha on Friday is an unequivocal symptom of it. That light, flowing music, without uproar, visibly produced the effect of a fresh shower following a long drought. The audience seemed to rest after an overlong tension, and the artists had the easy task of charming it . . . . Friday, Martha achieved a hearty success, to which I’ve already alluded earlier and which wasn’t due exclusively to the score. Miss Kellogg and Mme Sulzer sang with infinite charm and brio; Lotti confirmed his victory from 2 evenings ago [in Macbeth] and Biachi revealed a vivacity, a fullness, an aptitude for flowing song that one hadn’t suspected of him . . . . Maretzek standing at his well-filled cash-box was able to say . . . to his army of artists: “Soldiers! I am pleased with you!”

“Two unquestionable successes were achieved last week.  ‘Martha,’ with Miss Kellogg, and ‘Macbeth’ with Mme. Medori.”