The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1874-01-22
Am q S E MENTS.


Ah8AAhh Opera-"AuC40s"
Considering the disagreeable state OF the weather
last evening, the opening of the English opera
season may be regarded as success as far as the
audience is concerned. The Academy of Music
was fairly filed, the only blanks being in the box
circle. The opera selected was .sLucia.u work
which, since its first production at Naples forty
years ago, under Donizetts own direction, has
held prominent position In popularity every
where on the Italian stage. Regarding its adapta-
bility for the English repertoire we cannot
speak In commendatory terms. The fiorid charac-
ter OF the music needs the smooth, elastic tones
OF the Tuscan tongue to give 1t its due need OF
briiliancy and expression. "fhe Bohemian Girl"
loses much in an Italian form, as would "Tann-
hauser" presented in any language but German.
So with "Lucia" in English. The cast last even
ing was distributed as follows Lucia, Miss Kel-
logg; Edgar, Mr. Habelman; Henry Ashton. MIR.
Carlton; Raymond, Mr.. Han; Arthur. Mr.. Fenich;
Norman, Mr.. Reuben; Alice, Miss Starbird.
Miss KellOgg's voice has gained considerably in
volume Of tone and breadth oil expression since her
last appearance In this city In Italian opera. The
instrumental prelude to her first recitattve and
cavatina zone OF Dontzettrs most characteristic
mOrceaur) was entrusted to the carionet on this
occasion, instead Of thu harp, and was very wei
the change. The opening air, s.sence DER all
was reignnC' (e0naud mel sile'azOj, was delivered
ceives, Miss Kellogg introducing q very brilliant
and trying cadenza at the end, the execution OF
of which was faultless Her rendering Of
the norid cabaletta showed nexibihty OF voice
and intelligibihty Of phrasing. The same
qualities appeared In the. succeeding duet
with the tenor. In the scene with Ashton in the
second act in which the brother convinceB Lucia
OF the faithlessness OF her lover, Miss KeloRg's
great dramatic qualities OF passion and despair
which such scene would naturally call Tor. 1t
might nave been that the prima donna reserved
her powers for the bridal scene and the grand sex
tet, with Its accompanying tableau OF mental
agony and unhappy love. In this scene she was
equal to the situation, and was called out before
the curtain at the close OF the act. .nl5.
In the mad scene, with Its exuberance OF n0rid
vocaiization, Miss Kellogg excelIed her previous
be desired. The passages with the hute were given
with ease and finish, ana the last beautiful air.
''Shed thou one tear OF sorrow" (Sp0rgt dayTeOT
ptartO), with delicacy and expression. The rest
OF the cast does not call for extended comment
Mr. Habelmann was Ill at ease In the earlier
part Of the opera, although he partly
compensated for 1t In the last two airs He
notes as II he designed to take them by Storm and
thereby losing the important quality in an opera
OF this kind OF smOOthness OF delivery and dis
tinctness OF phrasing. Perhaps singing in Ian
guage foreign to him may account for this. Mr..
Carlton was labOring under the serious disadvan-
tage OF recent Illness and hOarsenesS. and had
much dificuity in carrying his part through with
out mishap. Mr.. Fenich sang the role OF Arthur in
Italian and exhibited fine, sonOrous tenor voice
although small in number were evidently well
selected and in good training under the direction
OF Mr.. HOwson. "Martha" will be presented this
evening IA '. " .'H'