New-Yorker Stadt-Theater Opera: The Barber of Seville

“STADT THEATER—‘THE BARBER OF SEVILLE.'—While opéra bouffe and the ‘Black Crook’ have captured the west side of the city, with the exception of a vigorous and happy battle for the legitimate drama in the shape of ‘Twelfth Night’ at the Fifth Avenue theatre and sterling comedy at Wallack’s, the genuine opera is actually flourishing on the east side, and has selected the Stadt Theater for its abode. We have already had the pleasure of recording the excellent presentation of Wagner’s famous ‘Tannhaüser,’ [sic] and the brilliant success of the ‘Postillon of Lonjumeau,’ which was twice given last week in the presence of densely crowded houses and amid a shower of applause and floral tributes. This week opened with a repetition of the ‘Tannhaüser,’ with continued effect, instead of the ‘Trovatore’ advertised for Monday night, but ;postponed because of the indisposition of the leading singer. Tuesday night Rossini’s sparkling and ever-welcome comic opera, ‘The Barber of Seville,’ was rendered with such taste and spirit as we have seldom seen imparted to it in New York. Mr. Habelmann acquitted himself most satisfactorily in the part of Count Almaviva, commencing his control over the audience in the beautiful serenade that opens the first act. The house was not so completely nor so gaily filled as it was on several evenings last week, and, consequently, that indescribable magnetism which a crowded auditory always imparts to the stage was deficient, but the conscientiousness and earnestness of German art made up for the lacking outside inspiration. This, by the way, is pone praiseworthy characteristic of the German theatrical and musical profession, that an audience will very rarely, indeed, find itself slighted because it is not extremely numerous. Miss Romer [sic], for instance, who very pleasantly and heartily rendered the somewhat difficult role of Rosina, sang with as much zest and fire as though thousands were listening to her. Her arias, while here and there overtasking her voice in the lower notes, evinced relish as well as accurate study, and she was repeatedly and eagerly recalled.  Her acting was fresh and winning throughout, and in the aria variations by Proch of the second and the ‘walzer’ at the close of the third act she was eminently happy. Mr. Holzl’s Doctor Bartolo was one of the very best we have ever seen at home or abroad. That gentleman is an artist of real distinction. Mr. Vierling as Figaro was hardly equal, either in voice or method, to some of his previous performances. Mr. Franosch as Don Basilio was most excellent, in splendid voice and irresistibly comic, yet natural in his acting to the part. The closing scene of the second act was, by his special effort, made quite a triumph.”