The New York herald., 1872-10-05
ITALIAN OPERA.
First Appearance or Miss Clara Louise
Kellogg.

FIRST Appearance or Miss Clara Louise
Kellogg.
The number OF Cameas that have appeared
before the American public would make very
spectacle conservatory. Matilda Heron Is the beau
'dedt OF the character on the dramatic stage; La
grange on the operatic We have seen score OF
weknown artistes in the role yioletta Camille in
drama), but Lagrange seems to be the first OF the
list In merit Pccolomini made quite an impress
sion In the part in London, but did not
succeed so well here. Nilsson has been the
last prima donna who elevated the role into
an Importance that gave an impress to her entire
season. She brought to 1t the most consummate
art but no SOUL and although her conception OF
the character was poetic and beautiful 1t was so
unreal and unnatural that after few representa-
ti0ns 1t became distasteful. A chaste spiritueile
passonless "Dame aux Camelas'is sa very charm
Ing subject in the abstract but 1t ia not the style OF
person that Dumas MS IS in the habit OF porrayng.
Miss Kellogg has played the character frequently
here before and her conception OF the part has the
merit OF entire naturalness. merry, thoughtless
habituc Of the salons in the first ana broken
hearted woman in the succeeding scenes; such are
the leading points OF her impelsonation. The ckle
weather that has been our bane for month or
two past has played mischieyous pranks with the
throats OF many of this seasons singers. Miss
Kellogg has not escaped it, Her beautiful, fresh,
clear voce-a true soprano SfoGatO-was yelled
last evening In an atmosphere of hoarseness,
which, although not very obtrusive was sufficient
to cloud some OF her best Efforts She gave Il spr-
tied rendering of the finale OF the first act, 'Ah!
lOrs' ui' but in some OF the passages OF this the
best or Nerdi's arias, there were signs OF "
erton, as II indispostion nterlered with the voice.
Now and then in the scenes with Ger
mont and Alfred there were passionate
Outbursts that evidenced o true dramatic
nature, but 1t was Enthusiastically apparent that Miss
Kellogg not in her best voice, and that slight
indispositon constantly interfered with the
promptings OF warm, passionate nature that
under other circumstances would make the T6ie OF
VOletta one to be remembered. Gliinpscs &c this
passion and tenderness were apparent in the last
scene Her acting was characterized by care ana
experience. 1t was the work Of an artist to whom
all the arts OF the operate stage perfectly IA
miliar. Signor Vizzani appeared as Alfred, and as
his voice was completely obscured by hoarscness
1t Is not possible to speak favoraby OF his mper
sonation beyond the points made by his preposscss
ing appearance and graceful action. Owing to the
condition OF his voice his part was cut
down muscally until 1t became almost
a secondary role. The best Of his solos, "De' mie
bolenti splriti," was cut ont, and in Pargi clran
his voice broke. IL is matter oil regret that this
artist, who made such a favorable impression in the
r0te OF Faust, should have partially nulliied that
impression last evening. Siguor Sparapan achieved
a notable success in the r0ie Of Germoni, AMI he
gave warmth and expression to the sDl proyen2a
II mar u suol' that our stage has not heard for
some tiile "i'Aricaiaan viii be the f ature OF the
matinee to-day ana The same opera VIII be re-
peatcd on Monday evening.