The Findlay Jeffersonian. [volume] (Findlay, Hancock County, Ohio) 1870-1881, 1876-11-17
CLARA LOUISE KELLOGG.
A sketch Of Her life as an 0pera Singer.

In view of the engagement of Miss
Kellogg at the Opera House this week,
the f,llowing brief shetch of her ca
reer as musician, from a Buffalo pap
er, viii be of present interest:
Without using any terms but those
which justly can be employed IN speak
OF Miss kellogg. We can say that the
recital of her experience, in attaining
the position she now occupies, chaliep-
gts our most thorough respect and ad-
miration. The actual work she has
accomplished, the difficulties she. has
surmounted are not to be considered
simply from the standpoint of the
stagr alone, but from much more or
dinary level, and we are to bear in
mind that it is a woman who has made
with her own indefatigable persever-
ance and intelligence a place for her
self which many may envy.
Miss Kellogg was born in Sumter, s.
e., IN 1872 but her earlier years were
passed in New Eogland. She was ed
ucated at the free schools and took
what may be called her very first mus
zeal Instruction, wheii 81 rutsred
these institutions. AT one time when
about sixteen, we read OF her as neir
Der of church choir in Lynne. but those
who recall her voice at 'Iat time simply
speak of it as ordinary good. In 1858
her parents were residents of New
York, her mother being employed as a
physician, with more orless reputatith y
as medium" 1t was during this
time that Miss Kellogg Lecided to study
Tor the operatic stage and visited Miss
Eliza Logan-Mrs. George WoOd-to
ask the advice of that excellent actress.
My sister," writes Miss Olive Logan,
spoke in a disinterested mancer TO
this young girl-told her of all the
troubles that beset every aspirant for
artististic life-spoke, also, of that no
necessary and unjust obloquy which
is attached to the name of every ac-
tress, and then bade her go back and
ponder seriously" This advice did not
deter the ''yeung girl" however, and
she went to work assiduously. The
usual interval of study elasped, and in
1860, if we mistake not, it was an
nounced that the debutante would ap-
pear at the Academy of Music, New
York, in ''Rigoleeto," under AIR. Grau's
management. The result was fsii-
ure-a dire, desperate, seemingly hops,
less failure. At this stage the true
character of the singer showed itself,
and she retired to private life to study
again. No galley-slave ever laborud
at his work as Miss Kellog then worked
at her art Her days and nights were
given up to it, and no sacrifice of com
fort vas deemed too great to be made
to attain her desire. The labors of this
and following years cannot be estima
scription, but we can only surInise
them, remembering the work necessary
even to interpret music correctly.
In 1861 Miss Kellogg appeared again,
but, though not failing as signally as
before, still did rot succeed Between
this year and 1866 she studied jealous
ly under Milet, NJ Rizniie, lno Muzio,
and made final and successful effort.
Her role was Marguerite, in Faust
Id in the character of the pure, deli
cate, gentle, loving, supplemented,
anu SiLuplc Huinucu udiucu misc hei
Iogg filed the ideal in spirit, as well as
in voice and conception. This role has
always been one of the most admirable
of those personated 10y the prima DON.
na, and was the one selected to make
her debut before an English puo'ic.
From the season of '64'65 Miss
Kellogg has been before the public,
and each yea: has advanced herself in
her art. Her great virtue has been
that she did not consider herself per
feet, but has been continually striv
ing for a goal beyond those already at
tanned. Her acting and singing in the
different operas in which she has had
success have been such as have won
her reputation second to no vocalist
in America. ar.