Mulder-Fabbri German Opera: Le Prophète

Event Information

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

Conductor(s):
Auguste Predigam

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
20 July 2024

Performance Date(s) and Time(s)

07 May 1872, Evening
10 May 1872, Evening

Performers and/or Works Performed

1)
Composer(s): Meyerbeer
Participants:  Mulder-Fabbri German Opera Company;  Adolph [bass] Franosch (role: Anabaptist);  Jacob [baritone] Müller (role: Oberthal);  Inez Fabbri (role: Bertha);  Wilhelm [tenor] Richard (role: John of Leyden);  Henry Wiegand [bass] (role: Anabaptist);  Clara [contralto] Perl (role: Fides);  Carl [tenor] Bernard (role: Anabaptist)

Citations

1)
Advertisement: New York Herald, 05 May 1872, 4.
2)
Announcement: New York Post, 06 May 1872, 2.

“Such a work, however, with such a cast, should be heard at the Academy of Music rather than at a house like the Stadt.”

3)
Review: New York Post, 08 May 1872, 2.

“After only a few days’ preparation, Meyerbeer’s stupendous opera, ‘The Prophet,’ was produced last night at the Stadt Theatre. It has been rehearsed under the direction of Mr. Mulder, but owing to illness this gentleman was obliged to yield the baton to Mr. Predigam.

“The cast of the opera was good in many respects. Madame Clara Perl took the part of Fides, Madame Fabbri that of Bertha, Richard that of John of Leyden, and Muller that of Oberthal, while the three Anabaptists were personated by Wiegand, Franosch and Bernard. The chorus was large and the orchestra full. In the coronation scene there was an effective procession, a band of boy choristers, very fair scenery, and everything to ensure the success of one of the noblest passages of lyric drama in existence. At the conclusion of the opera the falling into fiery flames and ruin of the false Prophet’s palace was managed with great skill, and was absolutely thrilling. The skating scene, on the other hand, was a failure, and the fascinating ballet music of the opera was omitted.

“The singing was really good, often thoroughly dramatic. Madame Perl, who has hitherto been known here only in the routine contralto rôles—as Osrini or Azucena, for instance—revealed a richness of voice and a brilliancy of dramatic power which surprised even her friends, and awoke the audience of last night to frequent bursts of enthusiastic applause. Her rendering of the great test aria, known as ‘Ah mon fils,’ was superb, and was accompanied by action and gesticulation equally graceful and appropriate. In the magnificent cathedral scene, where lyric art absolutely culminates in its highest perfection, and where Meyerbeer has surpassed anything that even he has elsewhere accomplished, Madame Perl was entirely up to the exigencies of the situation, and in the difficult music of the fifth act she well maintained the high stand she had taken. This is the first time that Madame Perl has sung in this opera in America.

“The Bertha of Madame Fabbri is well known on the European stage as a graceful and finished personation. In the last act, where dramatic power is specially required for the otherwise tender, idyllic character, Fabbri was particularly fine. The John of Herr Richard was generally good, but there was an absence of personal magnetism, and the fine voice of this artist, owing probably to frequent recent rehearsals, seemed rather fatigued. Yet he made a fine impression and was several times called before the curtain. Of the Anabaptists two were good and one was bad. In Oberthal Mr. Muller found a part which afforded but little scope for the display of his noble voice, but what there was for him to do he did well.

“The opera will be repeated on Friday and Saturday nights of this week, and in the meantime artists and chorus will have a rest, which will permit them to attack Meyerbeer’s great opera with fresh vigor. We anticipate two superior performances on those evenings, and can only again express the regret that they cannot be heard at the Academy of Music. The American public will not take kindly to the Stadt Theatre; but our German citizens, as long at least as they neglect to build a better house, should liberally patronize the one they have.”

4)
Review: New York Herald, 10 May 1872, 3.

“On Tuesday evening ‘Le Prophete’ was brought out at the Stadt Theatre by the Mulder-Fabbri Company and achieved a grand success. Mlle. Clara Perl, Mme. Fabbri, Herr Richard and Jacob Muller distinguished themselves in the leading parts.”

5)
Review: New York Post, 11 May 1872, 2.

“Meyerbeer’s grandest opera was repeated last night at the Stadt Theatre with fine effect. All the artists had recovered from the fatigue of the rehearsals, and all sang with spirit and success. The Fides of Clara Perl was magnificent. Her stately figure, superb acting and rich, deep voice all combined to make her personation of this, the greatest role in the lyric repertoire, worthy of a high place in the memory of the connoisseur. The Fides of last night would have won a triumph in Berlin or in London.

“Herr Richard sang the part of John of Leyden admirably. After the finale of the second act he was repeatedly called before the curtain, and in the fourth act he was also very effective, while the wild bacchanalian song of the last act was another triumph. Madame Fabbri also sang well, and so did Wiegand and Franosch. Mr. Pedigram again conducted. The only fault to be found was with the male chorus sung behind the scenes in the third act, which was ‘like sweet bells, jangled, harsh and out of tune.’ “

6)
Review: New-York Times, 13 May 1872, 7.

“’Le Prophete’ has been a brilliant success at the Stadt Theatre, owing to the artistic abilities of Miss Clara Perl, Madame Fabbri and Mr. Jacob Muller. The other persons in the cast were rather beneath the required standard, the chorus was unsatisfactory and the orchestra excellent.”

7)
Announcement: New-York Daily Tribune, 17 May 1872, 5.

“The series of operatic performances at the Stadt Theater by the Mulder-Fabbri troupe has come to an untimely end. Meyerbeer’s ‘Prophete’ was given twice, and though the Fides of Clara Perl, the Jean of Herr Richard and the Bertha of Madame Fabbri were meritorious performances, the season closed suddenly owing to lack of patronage.”