Instrumental and Vocal Concert in Aid of the Chicago Fire Victims

Event Information

Venue(s):
Grand Opera House

Manager / Director:
Carl Bergmann

Conductor(s):
David L. Downing

Price: $.50; $1 reserved seat

Event Type:
Band

Performance Forces:
Vocal

Record Information

Status:
Published

Last Updated:
4 October 2023

Performance Date(s) and Time(s)

15 Oct 1871, 8:00 PM

Program Details

See also separate event entry of 10/13/71: Articles on benefit entertainments for victims of the Chicago fire.



The first piece following the intermission is illegible in the New York Herald.

Performers and/or Works Performed

2)
aka Egmont overture; Goethe's Egmont
Composer(s): Beethoven
3)
Composer(s): Gung'l
4)
aka Sleepwalker
Composer(s): Bellini
Participants:  Creola Crescenti
5)
Composer(s): Unknown composer
Participants:  Henri Drayton
6)
Composer(s): Rossini
Participants:  Jules [cornet] Levy
7)
Composer(s): Meyerbeer
9)
Composer(s): Vieuxtemps
10)
Composer(s): Meyerbeer
Participants:  Theresa Castellan;  Eliza De Try
11)
Composer(s): Woodbury
12)
Composer(s): Levy
Participants:  Jules [cornet] Levy
13)
aka March; Fest march; Festmarsch; Grand march; Tannhauser. Freudig begrussen wir die edle Halle. Allegro
Composer(s): Wagner

Citations

1)
Advertisement: New York Herald, 15 October 1871, 13.

Includes programme.

2)
Review: New-York Times, 16 October 1871, 5.

“Two young ladies, whose reputation as musicians and executants, in Europe, is wide and stable, were heard for the first time in the United States last evening, at the Grand Opera- house. Mlle. Castellan, and Mlle. De Try, the former a violinist and the latter a violoncellist, then took part in the concert given in aid of Chicago. They played a duet by Servais and Vieuxtemps, founded on motives from ‘Les Huguenots,’ and were at once recognized as possessed of sensibility, talent and taste in no common degree. More frequent hearings and a greater amount of space than is now at our disposal will enable us to speak with more detail of the gifts and accomplishments of these new-comers. For the present, we can only record their debut, adding that it is that of performers who have claims upon critical notice of a stronger kind than persons relying upon the curiosity of the public for artistic encouragement.”