The New York herald., 1872-10-29

Italian Opera-Bllss Clara Loulse Ke1-
lOgg ~ Le0n0ra in "H Trovat0re.'s
verdi's great work, despite the wrongs It has e.
dured at the hands OF irresponsible singers, ama-
teur tnapresavit boarding school misses and organ
grinders, has steadily maintained its popularity
with the mass or opera goers. Those to whom tt y
distastefui judge OF 1t from Q wrong standpoint.
When soloists chorus aud orchestra unite in pro
ducng fitting ensemble this opera cannot fan %
excite enthusiasm. Miss Kelogg's voice has In
creased In volume OF tone within the past couple of
years and has also acquired certain dramatic
quality which, united to its original mpidity oftoae.
fits her yrIcaliy q worthy representative OF tho
heroine of verdi's opera She sang "Taces la
Notten an andante aria which demands OF the vo-
cast camness and rep0se with . deal OF express
sion in the first part and q rapturous, passionate
spirit in the second. In this Miss Kellogg displayed
the new qualities she has gained for her style Of
singing. The cabaletta that follows was delivered
with due DrIancy, the execution OF the sparkling
1orituri showing large resources OF pure
vOcalization. Probably the greatest test Of
the dramatic power OF prima donna
In this work Is the meeting between Leonora and
Manrico, when she addresses him with "E degg0
posse crederlo." The agitation OF the meeting and
the JOY at her rescue from the Count Is beautifully
expressed in the broken phrases of the music. Im-
mediatey alter the fierce interchange OF defiance
character to what we have mentioned. "E questo
sogno:"
intensity necessary to rise to the grandeur OF this
scene. Shc invested the well known scena
her pure, intelligent phrasing, judicious manage
ment Of the voice throughout the trying measures
In the succeeding ''MiserereN she performed
Hsar Hsa share S the music scerSs asr%s
the death scene make large demands
on the a sSsy % se sao Of the R ms
so many exhausting scenes. Here, we opne, Miss
Kellogg made the strongest points, and created .
opera is household word. In fine, she sings the
music all through with care and intelligence, and
tenalty Of passion required, and lacked the enc
tiona qualities Of the tragedienne, she compensates
for it to some extent BY her knowledge Of
Mile. Mi ii SAM s esssyed the roe Of Us the ere re.
yengeful gipsy. and. luckily. was in good
act depended mostly upon her, and she gave quite
a picturesque portrayal OF the wrongs ami mlseries
Abrugnedo was not in good voice, and It is un-
necessary to enter into particulars as to the con-
Manrco Is In ons paos he partly
redeemed himself. This was In the andante "Ahl
g Oen mio whca % he osss sang IN VITA ssa much
Of failure, or at least vocal platitudes. signor
Moriami, as the revengeiul and tyranncal Count
lain that ever cut throat or scutted ship" He Ia
quite an amiable tyrant, and, like Mark Tapey,
sings not 6o,nnae IN ange saa5s conane le -.
Well, let 1t rest there. Were Verdi present to near
this % tn execute the musc the
consequences. There would be certainly an
6nlente. NJ C0uon was sufficiently forbidding Fer
nando-s0 much so that the audience thought they
would rather see him in the character OF Di Luna
than the gentleman who essayed that part. On
Nine. Lucca as Leonora and Signor Abrugnedo as
Fernando. Poor Mario He Is now, we might
I5r Glorious Interpretation Of Fernando. No matter
what artistic appeared as Leonora, Mario was the
feature Of the opera We'll, on wednesday we sup,
be reversed. Nine. Lucca will be the attraction,
and her shoulders will rest the entire success Of
the opera Pretty hard, isn't its
Old English Comedy-.sThe Road TO
Ruin" at the Fifth Avenue Theatre.
The revival OF sThe Road to Ruin" at the Filth
Avenue Theatre last evening was an event OF soma
dramatic interest, both on account Of the produc-
tion of this fine old English comedy and because Of
the temperance of Mr.. Charles Fisher. 1t is too
late, after nearly hundred years Of undimtnished
popularity, to discuss the artistic merits OF the
play, but it has made and unmade more actors than
almost any other in our dramatic literature. Only
a strong comedy company can play 1t at all, and
even strong company may not render 1t to the
complete satisfaction Of old piaygoers. Il
its first representation but not well enough The
scenery worked badly and this detracted from the
piece disadvantage always seriously felt at this
theatre from it's size and the contiguity Of the
audience to the stage. Then the acting was not
always up to the standard Of old English comedy.
Mr.. Fisher as DOrnJon showed all his usual care
and conscientiousness but seemed to suffer from his
temporary absence from the stage and not to be,
artistic work. The playwright's idea Of what Ia
ia and noble in son Is not after the ideal OF this
Intended to be its strongest feature and to relieve
IN measure, what was caricaturo
q the soss Ms as py ssss ss9ss ss
by the dramatist to forgive his son on very slight
grounds, he did not even succeed in showing his
belief that the 70 ung fellows conduct was worthy
of commendation or forgiveness. But he was much
more tender and natural in the scene where D0rn-
ton renounces his spendthrift son, as his acting
in this scene was as thoroughly effective as was
possible. Mr. Crisp, as young Dornton, was crude
taken as test Of MS Capacity in sht comedy
parts we shall despair OF ever finding In him the
quality which his name woud seem to indicate.
but he played 1t well, and Mr. Clarx's Goldfnch
would have been good performance II he
tion. Mr.. Lemoyne's Old silky is also worthy OF
note. but the genuine success Of the evening was
much better appreciation of her part than she has
yet exhibited In anything undertaken by her, and
her acting was 50 light and airy and ssnstys as to
Widow had a little too much OF the widow, and the
Jenny OF Mary Cary though IN some respects
can than the english sewing maid. The other
characters were done with tolerable cleverness;
but from what we have said Of the acting in this
piece it will be seen that Mr. Day's company Is q
little too light for such strong comedies as "The
Road to Ruin" .It has much ability and great
promise, but the performance as yet Is not equal 20
either. Both will come in their uness and strength
in time, and for the present we shau nave TO 20
content with what is given US.
The BOwery.
new sensation play was produced at this house
last night under the title OF "Auramania," which
the bill translates for "Gold Mad" 1t Is from
the pen OF Miss Johanna Pritchard who sustains
the character OF the heroine through the most