Wenzel Kopta Sacred Concert

Event Information

Irving Hall

Price: $1; $1.50 reserved

Performance Forces:
Instrumental, Vocal

Record Information


Last Updated:
23 January 2017

Performance Date(s) and Time(s)

15 Dec 1867, 8:00 PM

Program Details

Mme. Lumley sang at both Lyric and Irving Halls this evening.

Performers and/or Works Performed

aka Sing, smile, sleep; Chantez, riez, dormez; Canti, ridi, dormi; Serenade; Berceuse
Composer(s): Gounod
Composer(s): Bazzini
Participants:  Wenzel Kopta
Composer(s): Donizetti
Participants:  Ignatz Pollak
Composer(s): Schumann
Participants:  Otto Singer
aka Fantasia for violin "Otello"
Composer(s): Ernst
Participants:  Wenzel Kopta
Composer(s): Erkel
Participants:  Ignatz Pollak
aka Non priu mesta; Bravour variations; Variations on the G string
Composer(s): Paganini
Participants:  Wenzel Kopta
aka Non e ver; Tis not true
Composer(s): Mattei
Participants:  Eliza [contralto] Lumley


Advertisement: New-Yorker Staats-Zeitung und Herold, 01 December 1867, 8.
Advertisement: New-Yorker Staats-Zeitung und Herold, 08 December 1867, 8.
Announcement: New-Yorker Staats-Zeitung und Herold, 11 December 1867, 8.
Advertisement: New-York Times, 13 December 1867.
Announcement: New-Yorker Musik-Zeitung, 14 December 1867, 297.

The participation of Carl Wolfsohn for the first time after his return from Europe is announced here.

Announcement: New York Post, 14 December 1867.

“Madame Lumley, who is to sing both at Lyric and Irving Hall, will have a pretty severe task, this bitter cold weather.”

Advertisement: New York Herald, 15 December 1867.
Advertisement: New-Yorker Staats-Zeitung und Herold, 15 December 1867, 8.

Includes program.

Review: New-York Daily Tribune, 16 December 1867, 4.

“Mr. Wenzel Kopta’s Concert at Irving Hall last evening was well attended. The lovers of the music of stringed instruments enjoyed a rare treat. Haydn’s half dreamy quartetto (Strings D, No. 45, Op. 63) was fairly performed, Messrs. Zeiss, Schrimpy, and Hennig accompanying Mr. Kopta with violins and violoncello. Bazzini’s allegro de Concert (Op. 15) and Ernst’s ‘Othello’s’ fantasie (Op. 11) were played by Mr. Kopta with a shade of tenderness and a depth of feeling that drew forth strong expressions of approval, while his rendering of Paganini’s Variations Cravoures, executed on the G string alone, was really delicious. Mr. Kopta’s playing is remarkably soft and delicately toned, the notes being distinctly and clearly enunciated, and marked with a refinement of manner and sweetness of expression peculiarly original and pleasing. Signora Antalik de Bosio, the pianist, who made her first appearance in this city at Miss Jenny Landsman’s concert, acquitted herself creditably last evening. Mme. Eliza Lumley, Ignatz Pollak, and Otto Singer assisted Mr. Kopta. The concert was a success.”

Review: New-Yorker Staats-Zeitung und Herold, 16 December 1867, 8.

The concert would have deserved a larger audience. However, the small audience was enthusiastic about the performances. Haydn’s opening was played by Kopta, Zeiss, Schrimpf, and Hennig with accuracy and harmonious togetherness. The last movement was repeated. Kopta played Paganini’s variations with extraordinary skill. We are pleased by Kopta’s lack of need for effects in his performance. Pollack received much applause for both arias. Lumley’s performance was done with taste. Wolfsohn’s replacements—he had promised to sing and then canceled last minute—, Antalik-Bosio and Otto Singer, were not able to live up to Wolfssohn.

Review: New-Yorker Musik-Zeitung, 21 December 1867, 312.

The concert’s performance was rather good. The opening piece, Haydn’s quartet, went well, although the first violin was too dominant in some parts. Irving Hall is too big for concert music. Kopta proved again that he is highly skilled; however, he still lacks discipline, calm and pacing, and he also has to become more aware of the boundaries of esthetic beauty. Young people often show a resistance to alert self-evaluation, a non-judgmental comparing of their skills with others, a continuing dissatisfaction with oneself except if one is already flawless and especially eager study of challenging works. Undoubtedly Mr. Kopta would become a fine musician if he would follow the above approach. Kopta’s physical performance style with his big body movements is disturbing and inappropriate.

Mrs. Lumley avoided her usual coloratura pieces and sang Gounod’s piece with taste and an unexpected tenderness. She seems to expand her repertory and make it more diverse. We regret to not have heard her yet in an opera. We hope Maretzek will take notice of her for the opera stage next season.