Mulder-Fabbri German Opera: Ivanhoe

“The third week of the Fabbri German opera season was signalized last night by the first production in this country of Marschner’s opera of ‘Ivanhoe; or, The Templar and the Jewess.’ The composer, who was one of the shining lights of Germany in the beginning of this century, being born in 1795, is unknown in this country. He was a contemporary of Weber and is known in Europe mainly through his three best operas, The Vampire,’ ‘Hans Heiling’ and ‘Ivanhoe.’ The last mentioned opera, judging from the performance last night, is a work of remarkable merit. Although the librettist has made sad havoc of Scott’s beautiful romance, the music of the distinguished German composer is brilliant melodious, well sustained, and, strange to say, in a popular vein. No more taking music for the rank and file of an operatic audience can be presented on the stage. The story, as might be expected, gives an unlimited scope for mise en scène and appointments in which, of course, the Stadt Theatre is sadly deficient. The cast was the following [see above]. The performance, in a musical point of view, was deserving of high praise, and reflected credit on the conductor, Professor Mulder, Mme. Fabbri, Messrs. Muller and Formes and the chorus. The opera is particularly strong in the choral department, and is only marred by the introduction of dialogue in the first act. There is no doubt of its success at the Academy in an Italian form, if brought out with the requisite mise en scène and a strong cast. The best solo in it is ‘Proud England,’ sung by the tenor who undertakes the rôle of Ivanhoe.”

“Marschner’s opera of ‘The Templar and the Jewess,’ which has been familiar to German audiences for many years, but which, until yesterday, was unknown in the United States, was sung last evening at the Stadt Theatre. It is a thoroughly interesting work, and bears no more apparent traces of age than ‘Der Freyschuetz,’ which preceded it by a brief space of time only. Marschner’s music, in fact, has many traits of resemblance to Weber’s. The overture, in its scope and form, reminds one strongly of those masterpieces of dramatic writing for the orchestra, the performance of which prefaces the unfolding of the stories of ‘Oberon,’ ‘Euryanthe’ and ‘Der Freyschuetz.’ The composer, however, is at no stage of his task so happily inspired as his model. The similarity of manner is discernible in the subsequent incidents. There are few remarkable melodic ideas in ‘The Templar and the Jewess,’ but there are several striking solos, and several choruses deficient neither in fluency nor vigor, and there is an abundance of clever accompaniment to dialogue rarely endowed with the charm of pure cantabile, but without the tameness of poor Italiani ‘fillings-up,’ or the heaviness with which scientific musicians of the present weigh down their recitative. The room needed for a complete review of Marschner’s opera is at present denied us, and the single hearing of yesterday would, in any event, be insufficient for a satisfying discharge of the critical duty. For the edification of the reader, the salient points of a representation he can enjoy Wednesday, may, however, be mentioned. The libretto, as has no doubt been inferred from the title, deals with a subject handled already by Sir Walter Scott, and affords opportunities for varied music, and for a scenic display almost suited to a spectacle. A song by Friar Tuck, in which the monkish partiality for good cheer and worldly pleasures finds expression in phrases alternating with a devout Ora pro nobis! Is the first notable solo, and is conspicuous mainly for the felicity of the instrumentation. The same theme is afterword worked with admirable art into a martial chorus, sung by warriors whom the monk leads to battle. A long duet for Sir Brian and Rebecca is tuneful in parts, but its coloring must lack vividness, until a more powerful voice than Mme. Fabbri’s is had for its interpretation. Another duet for Ivanhoe and Rebecca is heard soon after, and an animated finale, during which a combat goes on in the courtyard of the castle, ends the act. The second opens with a melodious but rather commonplace chorus, illustrative of the delights of morn in the woods, and the same motive serves as a romance for Lady Rowena. The discovery of King Richard by his knights results in some additional bars of strong music. A soliloquy by Sir Brian is possessed of considerable beauty of a sweet and sad cast, and could be made more impressive than it is by an elegance of phrasing we cannot detect in Herr Muller’s style. In the following scene, wherein Rebecca is accused of witchcraft, some enchanting strains mingle with the stern declamation of the Templars. The air by which ‘The Templar and the Jewess’ is best known is placed in the third act, and assigned to Ivanhoe. ‘Thou Stately England’ is its burden. Herr Bernard, who is not always deserving of praise, sang this number of the score, last evening, with exceeding spirit and force. The theme is simple, but the rhythm is one to which an army might advance to strife, and its resumption by the choral masses is actually thrilling. The appearance of Ivanhoe at the decisive moment prefaces the finale, which is in keeping with the interesting character of the whole opera. The foregoing notes will, of course, be accepted as an incomplete statement of the impressions of a rehearsal that closed at a very late hour. Besides the artists whose names are supplied above, Herr Karl Formes is to be remembered as an excellent representative of Friar Tuck, Herr Habelmann as a worthy personator of the court-fool, Wamba, and Miss Rosetti as an acceptable Lady Rowena. Herr Wilhelm Formes was King Richard. Herr Mulder’s orchestra was in better condition than heretofore; but for the comparative inefficiency of the horns in the overture, its share of the representation would have given us no chance for fault-finding.”