New-Yorker Stadt-Theater Opera: Lucrezia Borgia

“This well worn but ever welcome opera was given last night at this theatre with the following cast: Lucrezia Borgia, Louise Lichtman; Orsini, Madame Krebs-Michaelsi; Gennaro, Theodore Hablemann; Euke, Mr. Vierling. The new feature was the first appearance of the Dresden contralto in the rôle of the page. She ought not attempt such parts now that her operatic career is in its wane. First, she is not suited in physique for the dress of a page; in the next place, an ill-arranged mustache and obtrusive imperial communicated a comic, to say the least, comic expression to her face; and lastly, her voice in the brindisi, particularly, evinced such signs of wear that no stage experience or artistic culture could gloss over. Mme. Krebs has had a long and brilliant career on the operatic stage, but we candidly say that the proper close to that career has come, and that the concert hall or church will for the future be the appropriate field for her labors. The Orsini we heard in this theatre before her, Clara Perl, is as far superior to her in the artistic rendering of the rôle as the Gennaro of Habelmann is to that of Himmer. The best rôle of Lichtmay is undoubtedly that of the guilty Duchess, and in it her fine dramatic style of singing, albeit so defective in concert, her earnest, impetuous acting and her complete identification with the character make the opera a grand success. Habelmann is a fine Gennaro, and Vierling a weak Alfonso. The operatic company of this theatre go to Philadelphia next week.”

“’Lucrezia Borgia,’ at the Stadt Theatre, brought forth an enthusiastic audience last night. Madame Lichtmay, Mr. Habelmann and Mr. Bierling, who in their respective roles of Lucrezia, Gennaro and Alfonso, find parts admirably suited to their style and capacity. The novelty of the cast was the appearance as Orsini of Mme. Michalisi-Krebs, the contralto. Her success was complete. Never before has the part been rendered with such marked intelligence. Whenever Orsini was on the stage, he, or rather she—to speak of the representative of the character rather than of the character itself—was the most prominent personage there. Madame Krebs is one of the few women who make up well on the stage as men. Usually the Orsinis of this opera have been little dumplings of women, who appeared ludicrously out of place, in the quarrel scene especially. In the present instance we have a manly Orsini. Madame Krebs, even in this small part, evinces rare histrionic ability. Her exit in the last act is one of the most effective we have seen on the lyric stage. The lady’s voice in the middle register has lost some of its freshness, but in the upper and lower registers is bright and clear. The drinking song she rendered in an original and magnificent style, and was promptly encored. We understand that on the return of the opera company to this city—for, during the Seebach engagement at the Stadt Theatre the German singers will go on a tour to other cities—Madame Krebs will be heard in the ‘Prophete’ and other operas, where her undoubted talent will be displayed to the best advantage.”

“The performance of ‘Lucrezia Borgia,’ last night, at the Stadt Theater, was, in many respects, pleasant and forcible, and, as a whole, deserved a great deal of praise. Madame Lichtmay has an opportunity, in the role of Lucrezia, for displaying the best points of her broad dramatic style and her rich voice, and of concealing some of her most noticeable defects in vocalization, and she was, therefore, especially acceptable. Mr. Habelmann, Mr. Vierling, and Mr. Franosch took the leading male parts. The Orsini was Madame Krebs-Michalesi, who made on this occasion her second appearance on the American stage. We have heard her when her voice showed more power, more richness, and more purity than it did last night; but huskiness is a misfortune which is liable to overtake the best of singers, especially in a strange climate and in changeable weather, and for this the critic must make a generous allowance. Still, it was a great comfort to witness such a noble interpretation of a part whose capabilities are but imperfectly appreciated by most contralto singers, and to hear such thoroughly artistic vocalism. Madame Krebs makes a good deal out of the Ferrarese roysteres—quite enough to make us eager to see her in characters which afford fuller scope for the display of her unquestioned powers.”