New-Yorker Stadt-Theater Opera: Maurer und Schlosser

“The German portion of our population ought to congratulate themselves upon the musical treat provided for them at this theatre last night. Messrs. Hamman and Rosenberg certainly deserve credit for the manner in which they have placed the comic opera ’Maurer und Schlosser’ (‘Mason and Locksmith’) before the opera loving public, and, to judge from the well filled seats and boxes, their efforts are appreciated in a great measure. The opera is divided into three acts, which, though a trifle too long in this performance, are nevertheless extremely enjoyable. The principal performers were [see above]. The parts were well taken and several times the heroine was recalled to receive the favors of the audience. It being on the occasion of Herr Franosch’s benefit every care appeared to be taken that everything should go off in the most satisfactory manner, and success attend all their efforts. In addition, the splendid music from Auber tended to increase the enjoyment of the evening. Herr Franosch was twice recalled and received applause for his efforts in those comical parts of the second and third acts, which none better than he understand how to render. Madame Lichtmay and Romer were excellent, and deserved the applause afforded them by the audience.”

“Night after night, with characteristic steadiness of purpose, the musical Teutons of the Stadt Theatre have been giving opera after opera to large and delighted audiences. The singing has generally been good, the stage appointments indifferent. Delicate vocalists of the Italian stage who can only sing two or three times a week, will be astonished to learn that Madame Lichtmay sings almost every evening, and in the most diverse parts, showing a versatility which is marvelous and a power of memory which is incredible. She appears to best advantage in tragic operas; but does not hesitate to essay the lighter works of Auber. Last night, in the the ‘Maurer und Schlosser,’ she acted and sang with delightful ease. Madame Frederici also appeared, and a vivacious scolding duet between these ladies received a tumultuous encore. The cast also included the tenors Hermann and Habelmann, while Franosch, for whose benefit the performance took place, filled a prominent part.

The ‘Mauer und Schlosser,’ known in French as Le Maçon,’ is one of Auber’s earlier operas, and is but seldom played. In Paris at the present day it is quite forgotten. It is a comic opera, in which spoken dialogue takes the part of recitative. The overture, the finale to the second act, in which a mason and a locksmith sing as they merrily ply the tools of their trade (thus foreshadowing Verdi’s happy hit of the ‘Anvil chorus’), and the scolding duet already alluded to, are the chief numbers of the music.

The opera was first produced in America, at the Broadway Theatre, on the 2d of January, 1857, with Madame Johannsen in the leading part, a Fraulein Picker as the second soprano, Pickaneser as the leading tenor, and Weinlich as the basso. It was received with moderate favor.”