Mulder-Fabbri German Opera: Tannhäuser; Inez Fabbri Benefit

“If the performance last night at the Academy of Music showed some conspicuous defects, it was nevertheless a creditable one upon the whole, and, as far as our memory serves us, the best representation of ‘Tannhauser’ yet given in New-York. This, to be sure, is not saying a great deal, for Wagner’s work has never been adequately interpreted in this city, and even Mr. Mulder has but faintly reflected the splendors which it really contains. A small chorus and an orchestra of forty pieces are incapable of doing justice to a score, in which the parts are often doubled and quadrupled; and none but the best voices can fairly display the rugged magnificence of the leading characters. Still there was a commendable attempt last night to treat the composer honorably, and it was rewarded with considerable success. Madame Fabbri-Mulder was excellent in the role of Elizabeth, and Herr Richard notably good as Tannhauser. The Wolfram of Herr Müller was picturesque and sonorous, and Miss Elzer made a capital little Shepherd.Not much praise can be given to Herr Weinlich’s Landgraf, nor did Miss Rosetti kindle much enthusiasm by her personation of Venus, but the crowded audience was not disposed to be overcritical, and the efforts of nearly all the performers were hailed with abundant applause. The scenery, dresses, and miscellaneous appointments were much better than one would have expected to find them at an irregular and, so to speak, improvised performance like this.

“An interesting incident of the evening was the appearance of Franz Abt, who occupied the conductor’s chair and directed the opera with great tact and refinement. He was heartily applauded on his entrance, and welcomed by the orchestra with a triumphal flourish, while Miss Elzer came upon the stage and presented him with a wreath.”

“A large audience enjoyed at the Academy of Music, last evening, a representation of Wagner’s ‘Tannhäuser.’ The performance, which was conducted by Franz Abt, was certainly the most satisfying the company have given, not only during their sojourn up-town, but also during their longer stay at the Stadt Theatre. Mme. Fabbri sang the music allotted to Elizabeth with much skill and power; Herr Richard acquitted himself creditably, though without much warmth, of the duties of Tannhauser. Herr Muller lent to the part of Wolfram the charm of a very fine voice, and Herr Bernard recited tastefully, and with an unusually happy effect, the bars written for Walter. The remaining roles were filled by Herren Bernard and Franosch, and Misses Rosetti and Elzer. The orchestra was as proficient as could be desired, and the superb overture and elaborate accompaniments throughout the opera were handled with a sensibility and surety which late interpretations of the difficult score did not lead one to await. The chorus was in fair condition, and, in the second act, the vocal and instrumental masses did ample justice to the admirable march, and to the subsequent finale.”

“This favorite German prima donna took a benefit at the Academy last night, the large audience that attended it testifying to her great popularity. The opera was that most tiresome of all the works of Wagner, ‘Tannhauser,’ in which the following artists took part [see above]. With the exception of the famous march and the Pilgrim’s chant, there is little in this opera to please any ear, except that of some stolid, unreasoning admirer of the music of the future. Everything in the line of expression and feeling is carefully excluded from the work, and each artist in the cast is overburdened with a load of heavy, stupid recitatives. In the prize singing of the minstrels before the court an end or middle man, in accordance with the custom of the Ethiopian stage, might be introduced to relieve the blank dreariness of the music in this scene. The opera was placed on the stage in a most admirable manner, Franz Abt conducting with rare skill and judgment. His first appearance in the orchestra was the signal for a very flattering ovation from the audience. Madame Fabbri invested the rôle of the Princess Elizabeth with much dramatic power, and Miss Elzer looked charming as the shepherd boy. The tenor, Richard, has not fulfilled expectations formed of him at his début at the Stadt Theatre. His voice has developed an uncertainty of tone, and his acting an awkwardness which sadly interferes with his operatic prospects.”