From the February 26, 1870 edition of the Louisville, Kentucky, Courier-Journal:
The public have read Morlacchi's advertisement in another column, as it previously read the accounts of her performances in Boston, Philadelphia, and other cities, with delight; and it looks forward to her first appearance in this city next Monday night with many pleasurable anticipations.
Giuseppina Morlacchi stands acknowledged as one of the Queens of Terpsichore. No one who has seen her can fail to admire the purity of sentiment which pervades all her performances and which violates none of the principles of refinement and true delicacy. Whatever may be said of the ballet by the very curious, justice should be rendered the meritorious artists who are compelled to adopt the fancy costume of the present day, by the public demand for it; and this demand arises largely from the fact that the perfection of dancing requires more freedom of limb than can well be obtained in the ordinary costume of women, and besides grace and ease of movement cannot so well be appreciated unless seen.
But Morlacchi does not pander to vulgar tastes by appealing in an exceedingly limited supply of dress, nor does she permit any of her troupe to do so. She is to the Terpsichorean stage what Ristori is to Tragedy—a refined and gifted artiste, with exalted ideas relating to her profession. How often is heard the denunciation of the ballet by those very nice people who relish it most, who visit it whenever the occasion presents, well knowing that they must see comparative absence of dry goods. If those who visit the ballet are perfectly pure in mind they must observe the perfection of grace—they must admire the beauty and symmetry of that form of which men and women in all ages have been and still are so proud. Virtue, merit, and talent will ever command the respect of fair-minded people in all professions and occupations of life—and nonetheless, because virtue, merit, and talent appear in the ballet. We have with us now much to admire in the illustration of the foregoing, and we are not both to speak in commendation of such. Among the number, Morlacchi is prominent. A Philadelphia journal says: "No one who has seen can fail to admire her grace and ease upon the stage. She glides through the difficult mazes of the dance with the lightness and agility which mark the gambols of the graceful doe in her native wilds; and were the ballet upon the green swarth we can well imagine that her footsteps would scarcely leave an impression or disturb the morning dew, so gently and swiftly does Morlacchi's flying feet seem to skim along as if hesitating to touch nature's growth and beauty. It is rare indeed that such perfection and grace are put before us; and this execution is no less wonderful that her grace is pleasing—the poise, the whirl, the fling, the leap brings forward incessant applause. Such talent needs public praise, and it should never be withheld.