New-Yorker Stadt-Theater Opera: Tannhäuser

“The grand opera of ‘Tannhaüser’ [sic], which held so large and brilliant an audience, comprising so much of the musical taste and talent of our metropolis, spell-bound on Friday and Saturday evenings, will be repeated to-night at the Stadt Theater with the same excellent cast. This renowned work over which friends and opponents of the ‘music of the future’ have fought so many pitched battles, all the way from Munich to Paris, and from Paris to New York, has never been presented to the American public in its completeness before, and the orchestra which has undertaken its accompaniments is certainly one of the most powerful, determined and persevering in the world. During the first two nights extremely close criticism would have hardly been fair, considering the magnitude and the novelty of the task; but this evening will be the third trial, which, according to old tradition, is ‘the charm.’ Hence we advise all who would hear this most remarkable of all the productions of the new school in music to avail themselves of the opportunity. The preparations made bespeak a superb performance and a distinguished audience.”

“STADT THEATRE—TANNHAUSER.—We can forgive Wagner for much of his nonsense on the score of the truly magnificent music he has left us in this ‘Tannhauser.’ The vocal part is the least satisfactory, as, in the desire to make it constantly dramatic, the composer loses the first principle of melody. He has scattered profusely through his work some of the loveliest themes that ever entered the head of a musician; but they are disconnected and, in some instances, impracticable. The three leading parts—Tannhauser, Wollfram and Elizabeth, for the parts of Walter and Venus are to some degree subordinate—are conceived in the broadest and grandest style, but they are entirely too trying for the human voice, no matter what the abilities of the artists may be. The aria which is given to the Tannhauser, for instance, in the contest of the Meistersänger [sic] in the second act, is destructive to the finest tenor voice, although highly dramatic. But the orchestration of this opera is, we might say, its salvation. It is symphonic in dignity and a profitable study from beginning to end for any musician. We have always found fault with Wagner’s ideas of the human voice, but in the ‘Tannhauser’ he tells the story with instruments alone. If, instead of ‘piling Pellon upon Ossa’ in the elaboration of a vocal dramatic scene, he would condense his ideas and concentrate them upon  a certain point instead of indulging in constant anti-climaxes, his opera would be a grand monument of genius. As for the performance at the Stadt last night, we cheerfully give it hearty approbation. Mme. Louise Lichtmay, who appeared as Elizabeth, is one of the best lyric and dramatic (a very difficult combination) artistes that has appeared on the New York operatic stage for some years. Her voice possesses, with a clear, ringing, sympathetic tone, that dramatic quality which presents before us with a lifelike vividness, a Lucrezia Borgia, a Norma or an Elizabeth. To Mr. Bernard, who undertook the extremely trying role of Tannhauser, all praise is due. His voice is of the robust order, but perfectly malleable. In some of the scenes it carried the audience along, and made them forget the actor in the passion-tossed victim of the Venusberg. We cannot say the same of Mr. Vierling, who sang the role of Wollfram. His voice is of the passe order, and is extremely treacherous in tone. Habelmann made Walter an interesting feature in the opera, and Miss Roemer invested Venus with much grace and tenderness. Mr. Neuendorf led the orchestra with marked ability, and won more than Philharmonic honors by doing so. Such an opera as ‘Tannhauser’ is terribly exacting in its kaleidoscopic changes, and needs a master hand to control it. The thirty-five instruments were like obedient sprites to the magic wand of the Ariel who presided over them. The chorus, too, was unexceptional."

“To the Editor of the Herald:

I think it proper to correct, by the following statement, the very contradictory rumors about my affair with Madame Lichtmay. In the last representation but one of ‘Tannhauser’ Madame Lichtmay had the bad taste to give me several kicks with her foot while I was on the steps of the throne. We—the pages—according to the stage management, had to sit upon the steps where Madame Lichtmay had her feet, and she behaved in this brutal manner under the pretext of our having moved her feet. The respect in which I hold the public prevented my doing anything except going to the Director, Mr. Rosenburg, to make a complaint. He, however, refused me all satisfaction on the ground that Madame Lichtmay was the prima donna, he could not protect me, that HIS LIVELIHOOD DEPENDED ON MADAME LICHTMAY, she kept the concern going, or else he could pay no salaries; however, he would inquire into this matter. It was only on account of this last assurance that I resolved to sing in the next performance of ‘Tannhauser,’ and to play the part of the page, which I had previously undertaken only to oblige the management; but, in order not to be exposed to renewed insults from the prima donna, I left the stage after I had finished the singing part, after which I had nothing more to do except sit on those fatal steps of the throne of that singular Saint Elizabeth. However, because I took this measure to protect myself from the kicks of Madame Lichtmay the manager, Rosenburg, fined me half a month’s salary. As this quite showed I was to have no reparation I felt myself obliged to protect myself from such insults and immediately sent in my resignation of my engagement.

This is the simple truth. Everything more or less is untrue. And it is not my intention to say anything further in the matter in the future.”

Assault committed by Mme. Lichtmay upon Miss Alma Krause.