New-Yorker Stadt-Theater Opera: Lohengrin

Event Information

Venue(s):
New-Yorker Stadt-Theater [45-47 Bowery- post-Sept 1864]

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
18 August 2023

Performance Date(s) and Time(s)

17 Apr 1871, Evening
19 Apr 1871, Evening

Performers and/or Works Performed

1)
Composer(s): Wagner
Participants:  New-Yorker Stadt-Theater Opera Company;  Louise Lichtmay (role: Elsa von Brabant);  Edward [baritone] Vierling (role: Friedrich von Telramund);  Adolph [bass] Franosch (role: King);  Marie Frederici (role: Ortrud);  Theodore Habelmann (role: Lohengrin);  Wilhelm Formes (role: King's herald)

Citations

1)
Advertisement: New-York Times, 13 April 1871, 7.

Twelfth performance.

2)
Review: New York Herald, 20 April 1871, 3.

“The romantic opera of ‘Lohengrin’ was again produced at this house last night, and was a perfect success, as, indeed, it must be with the perfect cast engaged in it. All the costumes are new and elegant, while the scenery, which has been carefully selected to suit the various parts, is magnificent. The scene of the opera is supposed to be on the banks of the river Scheide, near Antwerp, where Heinrich der Vogler, a German king, surrounded by his German courtiers and soldiers, are encamped; and, as shown in the first act, Frederick, a Brabantine count, came forward and proclaimed to the King, in the presence of the court assembled, that when the Duke of Brabant was dying he charged him to take charge of his daughter Elsa and of his son Gottfried [synopsis continues]. The following is the cast in this splendid piece [see above]. The whole opera is good, the scene on the river when the swan appeared creating the greatest excitement among the audience. It is a pity it could not be produced in English.” 

3)
Review: New York Post, 20 April 1871, 2.

“Frequent repetitions of Wagner’s great opera have made our German citizens quite familiar with the music in which Elsa and Lohengrin tell their loves and hopes. The opera has been listened to about a dozen times with increasing interest. There is no doubt that it improves upon acquaintance. Repeated hearings show only two absolute and clearly defined melodies—the swan song and the wedding chorus—but they develop to the ear the wonderful wealth of orchestration which the composer has heaped upon the work. Indeed, the elaboration of the orchestration is carried to such an excess, that there is a lack of the repose which comes from simplicity, and a bit of mediocrity would be welcomed.

There can be no doubt that ‘Lohengrin’ is a finer work than ‘Tannhäuser,’ and its success will do more for Wagner’s reputation in America than any amount of mere written eulogy. Already the Germans of New York have listened to the opera oftener than the more musically educated society of the leading cities of Germany.”