Maretzek Italian Opera: I Puritani

Event Information

Venue(s):
Academy of Music

Manager / Director:
Max Maretzek

Conductor(s):
Max Maretzek

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
31 July 2012

Performance Date(s) and Time(s)

17 Mar 1865, 8:00 PM

Program Details



Performers and/or Works Performed

1)
aka The Puritans
Composer(s): Bellini [composer]
Text Author: Pepoli

Citations

1)
Announcement: New York Herald, 14 March 1865.

2)
Advertisement: New York Herald, 16 March 1865.

3)
Announcement: New York Herald, 17 March 1865.

4)
Advertisement: New-York Times, 17 March 1865.

5)
Review: New York Herald, 18 March 1865, 4.

     “There was a very large audience . . . last night to hear . . . I Puritani, which was sung for the first time this season, with Miss Kellogg, Lotti, Susini and Bellini in the cast. The performance was received with much applause.”

6)
Review: New-York Times, 18 March 1865, 6.

     “The performance was pleasant, but not great.”

7)
Review: New York Post, 18 March 1865.

     “Many years ago the Havana troupe played ‘Puritani’ at Castle Garden, with a cast including Bosio, Salvi, Badiali and Marini. In 1854 it was sung at our Academy by Grisi, Mario, Badiali and Susini; and since then we have had no performance of Bellini’s work to equal that given last night, and no opera this winter, excepting ‘Poliuto,’ has awakened so much hearty enthusiasm. The concerted piece which follows A te o Cara was encored, as was Elvira’s Polacca. After the liberty duet, Bellini and Susini were called four times before the curtain, and had to repeat the allegro movement at the footlights—the curtain remaining closed.

     Miss Kellogg is closing the most successful winter she has ever known, with a new triumph. In appearance, dress and vocalization, she seems exactly adapted to Bellini’s gentle heroine. Her vocal execution was, of course, charming, and she took the high D several times with ease; but besides this, she exhibits in this part more warmth and coloring than in any other. This was especially noticeable in the charming duet of the last act, usually slighted by opera singers, but which was given last night with unusual care and effect. Lotti deserves a good word. If not a Salvi or a Mario, he is a conscientious, sweet- voiced and constantly improving artist.”