New-Yorker Stadt-Theater Opera: La Dame Blanche

“Boieldieu’s pleasant opera ‘La Dame Blanche,’ given last night at the Stadt Theatre, is a work, we should judge, after Mr. Wachtel’s own heart. The music is bright and sparkling, of simple and intelligible melodic construction, and full of charming singable airs and scenas. The action never flags, and the character of George Brown affords a chance for some of Mr. Wachtel’s best points as an actor—a little sentiment and much jovial frankness and swagger, with a strong infusion of humor.

Naturally, he did himself immense credit. His opening air, ‘Welche Lust,’ was sung with great spirit and martial fire. The more delicate execution of the beautiful scena ‘O! Holde Dame!’ and the later air, ‘Diese Hand,’ gave an excellent opportunity for the display of some of his finest resources both of voice and method. The pretty lesson in vocalization in the third act, on the old Scottish air of ‘Robin Adair,’ brought out, as we have never before heard them, a certain purity and a vibratory, sympathetic quality in some notes of his upper and middle chest register, with the peculiarity we have before remarked, of entire annihilation of any dividing line between the natural range and the falsetto. The defects of intonation we have had occasion to remark were but slightly perceptible, though they occasionally marred the effect of a rapid chromatic passage or cadenza.

In short, Herr Wachtel, as the jovial, warm-hearted sub-lieutenant, was altogether delightful and we venture to predict for the ‘White Lady’ an even greater success than that which has attended the former two operas.

Herr Lauterbach and Frl. Krause made their first appearance for this engagement, and sang acceptably in the concerted music. It would be pleasant to be able to say as much for Herr Franosch, who did his best, by coarse and incorrect delivery and intonation to spoil the fine sextet and finale of the second act, and well-nigh succeeded.

But in any unfavorable comment on the supporting artists in this engagement, it must be steadily borne in mind that it is in reality a musical picnic, extemporized in Herr Wachtel’s honor. The management—in default of time for extended researches and far-reaching plans and negotiation—claim our acknowledgments for what they have given us rather complaint of what they have failed to supply.”

“Boieldieu’s ‘Dame blanche’ (‘Die Weisse Dame’) is the third opera in which Wachtel has appeared. It was given last evening at the Stadt Theatre. It is needless to say that the house was filled; that but faintly expresses the fact. Germans are fully awake to the merits of their great tenor, and they will take good care that he shall never know what it is to sing before a thin house.      

As Wachtel discloses his abilities in the several works in which he has become famous abroad, it becomes evident that he possesses the rare faculty of singing equally well in serious and in comic opera. We believe that with the Americans he will be most in favor in the former, and with the Germans in the latter. Our people love tragic music, and are not half so merry-minded as the Germans. Besides, in comic opera there is much spoken dialogue, which to those who understand German is pleasant, but to those who do not a bore.

Boieldieu’s is one of the best works ever written for the French stage. It has been one of Wachtel’s greatest operas, but it does not give him that opportunity to make use of his highest artistic gifts that other and more serious operas afford. Still he makes it apparent even to those who have not heard him in any other work, that he is a great singer. His voice is brilliant rather than sympathetic, and it is without a break in all its compass; his vocalization is very perfect, and the ease with which he carries through a long and arduous part admirable.” [Reprinted DJM 10/07/71, p. 111]

“’La Dame Blanche’ was sung at the Stadt Theatre, last evening, with the flattering artistic and pecuniary results which bid fair to attend each incident in Herr Wachtel’s career in this country. In other words, that gentleman’s performance was exceedingly fine, and his audience extremely large and enthusiastic. Herr Wachtel’s personation of George Brown is quite as complete in conception and detail as his sketch of the romantic postillion, and much more striking by reason of the increased opportunities offered by the composition. Of these it would have been pardonable had an American audience shown some ignorance, though an air of general expectancy and subsequent demonstrations of approval proved that the indulgence was not needed. Herr Wachtel’s excellent vocal condition, thorough culture, and unwavering spirit, would in any event have made the notable numbers of a charming score conspicuous. The reduction, by broad cuts, of the libretto and music did not, of course, lessen the tenor’s share in the night’s entertainment, and all the known airs were retained. Without disregarding the heartiness of Herr Wachtel’s delivery of the opening couplets, commencing ‘Ah! quell Plaisir,’ we should have liked in it a little more freedom of phrasing than the artist allowed himself. In the first act, the duet having been omitted, his most finished bit was in the trio, when his delicious mezza-voce effects and a skillful alternations of chest and head tones were listened to with almost irrepressible delight. In the second, the cavatina, ‘Viens, gentille dame,’ was recited with rare sentiment and immense variety of expression, unspoiled by experimental passages or inappropriate ornament, and the crescendo e diminuendo of the tone at the end was done with consummate art. In the third act, Herr Wachtel’s triumph was won in the Scotch air—a song without words—rendered with infinite feeling, and with a surety as to which there could not be two opinions. A cadenza rising to the tenor’s high chest-note rounded off this piece, which was re-demanded with so evident a determination to hear it that it was repeated. In mentioning these points in ‘La Dame Blanche’ it should be understood that we do not hope, by so doing, to commend, in an adequate manner, Herr Wachtel’s delineation of George Brown. The excellences of the eminent singer and comedian now at the Stadt are not to be represented by hurried words of praise bearing on a few features only of a very elaborate and finished picture. By his acting alone, Herr Wachtel, as George Brown, would command wide admiration. No player could transact the stage-business of the whole three acts with more conscientiousness, heed of circumstances, animation or versatility. His martial bearing when first introduced to the villagers; the soldatesque gallantry of his dealings—sadly curtailed by the pruning-knife—with Jenny; the eloquence of his summons to the mysterious dweller in the castle; his contagious jollity and merry recklessness in the auction scene; and, lastly, his facial as well as his vocal utterance while seeking to recall, musically, the distant past, are entitled to far warmer encomiums than the usual brief record of a satisfying rendering imply. Of the support Herr Wachtel had last evening, it is not necessary to speak at length. It was supplied by Herren Franosch and Lauterbach, and Mmes. Perl and Krauss.”

“Wachtel achieved his greatest success as George Brown in ‘La Dame Blanche,’ Wednesday night. Nothing could exceed the beauty of his delivery of the grand aria in the second act, ‘Come, gentle lady,’ in which each tone of his glorious voice bore the impress of the true metal, and went right to the true heart of every one present. Boieldieu’s music is very different from that of the modern French school, as it reveals an exhaustless mine of ideas in the instrumentation, melodies, choruses and ensembles.  It is as sparkling as any other work of the opéra comique, but never merely superficial or trashy. After the ‘Postilion’ it was a relief to listen to this music. With the exceptions of Mlle. Krause, Clara Perl and Mr. Lauterbach, all of whom gave entire satisfaction in their respective rôles, there was little to expect of merit from the company; but Wachtel redeemed all other shortcomings by his superb singing and acting. As we have said from the beginning, his voice is a magnificent one, and he uses it with rare skill, giving every possible variety of tone with equal effect. There is a manly ring about these tones, such as one seldom or never hears from the saccharine voices of the present day. Then, there is a manliness about the actor, and a noble bearing which commands admiration. Mr. Wachtel made a greater triumph in this opera than when he undertook Verdi and Adam. The defects which we mentioned before are still observable in the ensembles, as he pursues an entirely independent course to those singing with him. But the voice is, undoubtedly, the first among the tenors of the present day, and no one should miss hearing him tonight in the rôle of George Brown.”

[Beginning of review deals with Wachtel’s performances in the Postilion of Jumeau and Il trovatore] “On Wednesday evening he again exhibited all these qualities in ‘La Dame Blanche.’ It is a pity that this very meritorious work should be so little known in this country, while operas in every way its inferiors are so constantly kept before the public. Boieldieu composed it nearly half a century ago, and yet its melodies are as fresh and charming as if of yesterday. It was written for France, but it has been adopted by the world, and is an especial favorite in England and Germany. Boieldieu was a man of imagination, and also of learning. There are bits of counterpoint in this opera worthy of any pen, and finales that have even a flavor like that of some of the Don Giovanni music.

As to the libretto, it is sufficient to say that Scribe prepared it. It is a significant fact that most of those operas for which he made the libretti have lived. His vigorous pen and dramatic capacity have helped to carry through many an operatic situation where the music was feeble and trivial.”