The New York herald., 1872-11-26
AnTszMEETs.

/
| italian Opera-Mfss Nenogg % Ainda'
| This charming mciodous work OF Doniaessl
| which Is nowadays so seldom give On our ooa'us
was brought out last evening for tn n's' tn'e ~
many years, Miss Kellogg appearing "a 'ne sl''e
role The rest OF the cast was as fvliow~ ''-f'e
rotto, Senorita SAM; Carlo. signor vizzani; Anto'
MO. Signor Morlami; Marchese signor Roncun
Prefetto, Sign0r Reina. The performance was In
many degrees smoother an easeatole than the
majority or us predecessors. In such music Miss
Kellogg seems to be entirely al home ana appears
to the best advantage. Her first aria, 20 Luce III
Quest Anima,n the joyous 0utbarst OF young
heart. was given with an effect that brought a
really enthusiastic encore. and she was called be-
lore the curtain at the end or the mad by an
expression of more real warmth than what
an artist generally inds IN an Academy
audience. There were some notable excelences in
other parts OF the opera. especially In the duet
with Pierotto, "Ahi Bel Distin, and In the duet at
the beginning OF the second act with the Marquis
senorita SAM had favorable opportunity of dis.
playing the sympathetic qualities OF her contralto
voice, and she avacd herself OF the occasion. The
tenor gave more satisfaction than usual, and sang
ms hrst romance cOmmendably MOriami was also
IN good voice. but in the scene where Antonio de-
nOlnces ms daughter he Ovcractcd IL to such an
extent that he nullfed the eiect Of the situation
It's pity that this opera, intimately associated
WIN the names OF iersiani Jenny Lind, I4aborde
La Grange, Gazzanga, Patti and Di Murska should
not be heard here more frequently. IL is written
In Donizetti's happcst vein, and sparkes from be.
ginning to end with delightful melodies. The story
Is an interesting one too corresponding with one
Wednsg " MISS Maggie MtcheIs avor,te Gnaracters on
sng the role or LeOnora in ala FayOrta" for the
last time. Her Interpretation OF the last scene IN
TINS opera IS one to be remembered for lifetime.
The New 'sFolly'' at the Grand Opera
House.
The production OF Ground the Clock" at the
Grand Opera House last night was q success, far
as the number or the audience was concerned, and
the reception accorded to the piece such a. to
insure it triumph also, in the ordinary meaning
OF success. The word "folly'' describes the cha.
racter Of the piece better than the method adopted
by some people In painting play which has no
recognized place in the drama; which is to speak
OF 1t as not comedy, nor farce, nor drama nor
tragedy, nut combination Of all, with the
requisites or none, and then cOldly to damn /. hy
ing that 1t is In four acts and in prose. THIS
| method would give little Idea OF what "Eound the
Clock" really is whilc the single word ''foly- il u
full description 0iits intent ana purpose The aim or
the piece Is not much to illustrate the dangers and
temptations of metropolitan life as TO show whaf ia
the thing that we apt to call "life In this city.
In this way it becomes a picture OF the 'insttu-
tions' of which good people hear, but which they
never see. Nothing Of the kind has been attempted
since the production OF "1om and Jerry malt Il
century ago, which old playgoers will remember as
illustrative OF all the noted places in London when
George Nv. was Regent and the leader in every
frivolity. At that time New York was not yet
. city In the sense In which London and PARIS
are cities; and rs the town rushed to see the town
In London, SO New York went TO see the wonders
OF which we had only heard. "Round the Clock
does for this city what the dramatized version OF
Pierce Egan's novels did Tor London, and the town
seems once more determined upon seeing the town.
the French play upon which this piece Is founded
and adventures with which 1t al'ounds. We have
already indicated the thread of the story, which is
nothing more than test in twelve hours OF who
shall have a fortune which can only he obtained
by an unmarried person who never engaged
and never in love- male relatives being pre-
icrred to females. The play opens with
the gathering OF the relatives, most OF
whom are dsgusted with the contents or the will,
and the propcrty is about to adiudged to Ernesta
Hardcastle miss Emma HOwson) when Joey Lilly
burn miss Ella Deitz), the unsophsticated heir,
appears and claims the money. The fortunes and
staple of the piece, ana while they are seeing the
town many strange places and strange persons are
Donovans alley. in the Five Points, Murderers'
Row and Harry Hills, Lion Park, behind the scenes
at Nibo's, and one or two other places OF local
interest repute all enter into the play.
One OF the most startling situations Is the
scene at the Lion Park Gardens, in the
first act, but, as whole this act falls far below
OF the other pictures in the piece The acting
in this act as is apt be the case on first nights
was not sufficiently toned down TO meet the tastes
OF New York audience. The Players used to
French burlesque, gave It's eXtravagances, excel
lent in themselves, too much the character OF
OPERA bOlsGe acting, and consequently succeeded
only in caricaturing a caricaturc. In other parts
of the performance the same objection was notice
ton and as a local picture. Yet IL was apparent
from. the great excellence OF the scene
Crosby s street side Of Nibios that the whole may
he rounded and perfected so as TO become excellent
throughout. The scene IS novel in idea and unique
| In execution. IL gives much clearer notion OF
how piece is managed than the scene In agnes
where something OF the same Kind is attempted,
and satisfies the desire which is elt in Sardous
play to see the audience OF which the spectator
hears 40 much In the dressing room of the premiere
illusion is perfect and, ike young lady looking at
and admrlng herself in glass, the one audience
reioices IN n';no the sight Of cot the other which
which paid for orchestra stalls and parlor chairs.
OF the acting little need be said Mr.. John
BrOugham as KillgObbin failed TO do himself JUS
tice, and Mrs. John Wood as Julana Tartar can do
better than In last nights performance Both
and sSt the others learn 70 appreciate fully the
capabilities Of their parts, which, In one or two
ors instead Of the actors dtting themselves to the
parts This is notably the case with Miss Ella
Joss we0 nay Gny ws t. es The same to
mark applies in some degree to Mr..
Ketchum as Lawyer Gaddgett a part whicn
he makes too exuberant even for a subject for the
Bar Association New York lawyers are wonderful
enough, but Mr.. Ketchum's GaddigOtt Is a little
too wonderful. But we cannot go into details Of
the acting on first night especially as the acting,
as well as the piece. must mellow before II can be
htly and nteligently criticised. It is only neces-
sary to add that the lovers rush into each others
arms, and make way for the grand finale, in
which we are presented with view OF the
interior OF the Academy OF Music during the
liederkranz Carnival, to which the characters VI
the DRAMA made happy by the manner OF its con-
clusion have gone to finish the night in mcrri-
ment. Here we have brilliant apotheoss
and transformation scene during which the pre-
siding genius, Folly, exhibits to Prince Carnival
succession OF pictures illustrating the vagaries OF
Fashion since the first efforts, OF Mother
Eve at personal adornments- In these
fubipGUr rirOnts we have the various
ages or notable fashionable teras typided.
The first by "Evc In the garden" second by the
"Women Of the Wilderness Juditli and Cleopatra:
third, by the living portraits OF Madame Clovis,