Article on the operatic season and new buffo company

“The season just closed has in many respects been a very interesting one. Of course, the magnificent exuberance of promise which marked its opening was realized only to a limited degree, besides the regular stock operas we were promised Meyerbeer’s ‘Huguenots’ and ‘Prophete,’ Verdi’s ‘Forza del Destino,’ Auber’s ‘Fra Diavolo,’ and Donizetti’s ‘Don Sebastian;’ but of all these attractions only the two latter were produced.

                                    The Singers.

There have been several new and most agreeable acquaintances made among opera-singers. The amateurs of Italian Opera thought that Maretzek would have some difficulty in satisfactorily replacing Medori, an artist who, though unequal in her style, yet possessed many qualifications for lyric tragedy, and as Ione and Amalia created a more than ordinary impression. But Carozzi-Zucchi was introduced: and the fickle public now basking in the rays of the new sun, only wondered how they could have been so well satisfied with the absent star. Zucchi in the highest walks of lyric tragedy is acknowledged to be unsurpassed by any prima donna we have had; and even that certain class of resident musicians, who, in New York, have a goose-like habit of hissing out in conversation their dissatisfaction with the various operatic artists who visit our shores, are silent as regards this admirable prima donna.

Miss Kellogg, this season, has proved how great a popularity she enjoys here; and her performances have justified that popularity. Yet strange to say, with all the applause which has been showered upon her, one of her very best representations—that of Linda, in Donizetti’s graceful opera—passed almost entirely unnoticed by the critics, and even by the public; while her Marguerite and Zerlina have received (as they deserve) unstinted praise.

In the early part of the season appeared Brambilla, a pleasing and artistic singer, but without enough individuality of style to attract special attention. She sang in ‘Traviata’ twice, and subsequently appeared as the Page in the ‘Ballo in Maschera.’ Unluckily for this young lady, her line of characters is the same as Miss Kellogg’s; and in such a case the manager must give prominence to the singer who is the most popular.

Mrs. Jenny Van Zandt was the debutante of the season, and in ‘Rigoletto’ gave evidence of refined cultivation and taste. She sang the part twice in this city and once in Brooklyn. She was to have appeared also in ‘Lucia,’ but the other attractions left no room for the revival of this pleasing though somewhat hackneyed opera.

Laura Harris appeared in the early part of the season in that work; but family complications led to the breaking off of her engagement with Maretzek’s company, and she has not sung since.

The contralto parts have been taken chiefly by Morensi, who displayed the treasures of a rich luscious voice, and an easy style of acting, though the critical will object to her lack of cultivation. This lady always sings loud, there seems to be but little light and shade in her performance. As Pierrotto, Orsini, amd Adalgisa, Morensi has been very happy, and it is to be hoped that next season she will be tendered a benefit. So punctual and satisfactory a singer deserves a direct recognition of the pleasure she has given our public.

                        The Male Voices.

The gentlemen of the opera troupe, with the exception of Bellini, the baritone, who has never been as prominent or as admirable as this season—are not equal to those we have previously had. In ‘Poliuto’ and ‘Norma’ Massimiliani has been fully up to the standard; but in other operas he has suggested damaging comparisons with his predecessors, and he will not be remembered here like Mazzoleni and Brignoli. The tenor di grazta, Lotti, has been also brought forward a great deal this season, and as Gennaro certainly sang charmingly. In ‘Fra Diavolo’ he almost made a fiasco. For all this deficiency in tenors we have only the gloomy satisfaction to know that this class of voice is becoming more and more scarce, and that the two gentlemen above alluded to are, probably, the best tenors attainable in this country for operatic purposes.

Of the other male voices that of Susini seems to be losing its depth. Below the middle D of the bass clef it is almost inaudible. Indeed, there seems to have been an almost general upward tendency in male voices at our opera-house during the late season. Massimiliani and Lotti were both good and efficient in their highest notes; Bellini, the baritone, in ‘Don Sebastian,’ closed his barcarole with a high tenor A flat; Susini takes the octave frequently when his music includes low passages.

In the subordinate parts, Weinlich and Dubreuil and Riechardt—a promising vocalist, lately emerging from the chorus—have given full satisfaction.

                                    The Opera.

The operas given during the past season have represented the German, Italian and French schools [lists all operas given during the season]. . .

The season opened on the 3d of October with ‘Trovatore,’ introducing the new prima donna, Zucchi, and the new tenor Massimiliani. The first really great hit of the season was the perfectly unrivaled performance of ‘Poliuto,’ . . . There have been fifty-nine or sixty performances in all, including the matinees and Brooklyn operas. . . .

                                    Scenery.

The stock of scenery at the Academy of Music has been increased by the addition of the fine scene painted by Calyo for ‘Fra Diavolo’ and ‘Don Sebastian;’ and several of those used in the latter opera will be available for other lyric works.

                                    The Future.

 For the next opera season we presume ‘Don Sebastian’ and ‘Fra Diavolo’ will again be leading attractions. The public taste would be gratified with this production—so long promised—of the ‘Forza del Destino’ and the revival of that old favorite ‘Sicilian Vespers.’ The present company would also appear to admirable advantage in ‘Ernani.’

                        The New Buffo Company.

For the Rossinian opera, however, we suppose we must depend upon the new buffo company, consisting of Laura Harris, Monglardini, Ardavani, and Fellini, which will play next week at Niblo’s Saloon and in Brooklyn. [Gives programs.] As this troupe will appear in unpretending style and a small room, adapated to the light voice and florid execution of the young prima donna, there is every prospect of enterprise meeting with success."