New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-05-14
FAVORITE OF MUSIC
LOVERS BACK IN COS
CO Made Her Debut as Gilda,
r. "Rigoletto,' at the
Academy of Music.
Nv II. r. KREHBlEL.

w after 1896. Her mother was
,gseal and gave her daughter an only
.sr5 her first ms ruction IN singing
In New York she became a pupil OF
,..uo Fraui. who trained many o.
- singers that we're stin in favor
80 Years ago. Her operate debut
49,. made ON February q. 1851, as
,-rs, F., "Ricoletto." at the Academy OF
vr.i, then under the management OF
a., ws~e+7ek and Jacob Grau, the lat
,r rrcle Of Maurice Grau, under
hose direction the Metropolitan Opera
y.r.s reached the acme Of its brill
isrcy
there a story. which may not be
N tradition. that she had made an
..,,v ir opcra the fall Of the year be-
49, with disastrous results, but that
t.- failure only increased her determi-
alton 90 succeed and sent her back 20
-, studies with new zeal and industry.
" Richard Grant White, writing in
as.ribrer's Magazine" in 1882, says;
aT5e wear 1860 was distinguished oy
he operatic debut of the most dis
a,euishsd artist that any one OF the
limited States has yet given TO the
rvric stage. In the autumn Of that year
Miss Clara Louise Kellogg, New YORK
Girl whose vocal gifts and musical in
,auigence had been discovered and
cultivated through the encouragement
# New York friends, appeared at the
Academy Of Music as Gilds In Nerdis
aRigoletto." was present on the
occasion. and / confess that the I'M
pression received was not one that
Id me 10 look forward 70 the success
tbat in the course of Few years the
fair. Young debutante achieved
"Her chief deficiency seemed 70 De
i, strength- strength Of voice, streng1h
Of body, strength Of emotional express
sion. And, on all these points, she not
only was, but still remains, somewhat
lacking. Nor was her voeahzauon pet
ter than tolerabie. But on two other
roints she was amply furnlshea- she
rad strength OF character and strength
IF viii She persevered Her voice
grew stronger By exercise, as also ala
her bodv: she improved herself very
much In her singing, and although she
never became an effective dramatic
vocalist. she had the power of reveal
ing dramatic conceptions OF great
6eIicacv. purity and sweetness"
Nr. White may have been IN error as
10 the date, or he may have heard per
foroqnce earlier than that in February,
1851. which is on the records as her
nubfc debut In 1864 she adds
aFsust" to her repertory and by that
time was recognized as an artist OF
established rank. II was not until
November 2, 1867, however, that che
Effected her entrance on the LONDON
stage. which she did al Her MaJesty,,s
Theatre i'm Faust" Later she ap-
1ssrs5 in "Traviata," Linda di
cbamounix," Martha" don Giovanni"
IZerlina). "Giglia del Reggimemto' and
"Nozzo 81 Figaro" and with TINS equip
ment. and perhaps other operas, she re-
sumed her American career IN 1900.
From 1872 till 1874 she was again IN
London. and. we believe, sang also IN
some other Of the European capitals
In 1874 she Joined Max Strakosch IN
8venture 20 exploit opera in English IN
the United States. IL was largely que
10 the strength Of will and energy OBJ
served by Mr. White that the enterprise
was success sfully carried on FOR mum
Der Of years. Miss Kellogg was the
artistic soul and mind Of the company
She superntcnded all the details when
entered into the performances down 70
the translation Of the hbrettos ana the
training of the chorus. But the YER
L Two
or three years later. As an evidence
Of Miss Keuogg's energy this story may
he told: in 1878 Bizet's Carmen,
after failure in Paris at its first pro-
ducton, in 1875, was generally recog-
nized as a successful work, II not
masterpiece, in other European cities.
Colonel MaplesOn had produced IT IN
London, with Minnie Hauk in the tltu-
lar role, and the lady was member OF
his company at the Academy Of Music.
He announced the opera. Miss Kellogg
had scented success in the work ana
set out 20 produce 10 also. Colonel
Mapleson's first performance took place
on October % 40 the Academy; Miss
Kellogg on October 20 at Philadel-
pbia. A managerial row followed.
Colonel Mapleson claimed TO have pur-
chased the exclusive American rights
from the publisher and accused Stra-
kosch Of having made use Of score
arranged from the version made for
voice and pianoforte.
Strakosch offered a wages of 100000
mat ms score was genuine. The offer
was not accepted, and the controversy
oued up and was forgotten. IL is said
mat IN the first season Of her English
enterprise Miss Kellogg sang 1875 times.
IN 1881 she retired practically from
we opera stage though she still sang
at intervals 10 concert. The last occs-
sion which The Tribune's reviewer can
ieca.l was a benefit performance at the
academy Of Music on December le,
,,s'o4. az which, with some OF Colonel
ASpleson's artists, she gave per
torrance Of the third act Of aida"
1le sang two English ballads. The re-
'e~ers comment on the affair was:
ok or seven years ago Miss KEEL
ogg impersonation of Aida in the
performances Of Mr.. Strakosch's com
pany was deservedly popular and did
uot give indications of any need OF
speedy retirement. Last night, If
;osS OF freshness and elasticity in the
agher notes Of her voice was appre-
csole, II was not in a degree which
saHed for a continued Withholding of
.ae interesting impersonation from the
wage Of this city. Dramatically 1t was
thoroughly admirable"
1887 Miss Kellogg married Carl
SS,rskosch, who had been her manager.
enc lived for some years in Europe;
Ien took up her residence in New Hart
iord where she died.
Her voice was a high soprano Of fine
-.d pure quality, capable of exquisite
--ances and infections. but deficient in
aimth. Throughout her active career
Net information was faultless hut not