New-Yorker Stadt-Theater Opera: Robert der Teufel

Event Information

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

Event Type:
Opera

Record Information

Status:
Published

Last Updated:
21 March 2025

Performance Date(s) and Time(s)

24 Oct 1873, Evening
25 Oct 1873, Evening

Program Details

Advertised as Robert der Teufel.

Performers and/or Works Performed

1)
aka Robert the devil; Robert der Teufel
Composer(s): Meyerbeer
Text Author: Scribe, Delavigne

Citations

1)
Advertisement: New York Herald, 22 October 1873, 8.

“Full chorus and orchestra. Popular prices.”

2)
Review: New York Post, 23 October 1873, 2.

“…the occasion will probably draw a goodly number of the admirers of Meyerbeer’s compositions.”

3)
Review: New York Post, 25 October 1873, 2.

“The German Opera Company sang ‘Robert der Teufel’ at the Stadt Theatre last night to the evident satisfaction of a large audience. [Lists cast with roles.] [They] were received with especial favor, and in the opening duet of Act 2, Mr. Graf as Raimbault shared the applause with the popular basso. The chorus was effective, but the orchestra at the Stadt Theatre is too loud.”

4)
Advertisement: New York Herald, 25 October 1873, 2.
5)
Review: New York Herald, 25 October 1873, 6.

“‘Robert the Devil’ was served up in German fashion last night at the Stadt Theater. It was a rather crude performance, possessing only three good elements, Mlle. Canissa as Isabella, Mme. Lichtmay as Alice and Herrmanns as Bertram. The first of these artists sang ‘Robert, toi que j’aime’ with finish and expression, and the rôles of Alice and Bertram were commendably filled. The title rôle was represented by a tenor with a voice like a circular saw, and Rambaldo fared no better. The chorus, in the third act particularly, gave the idea of the wax figures in a museum and seemed to be constructed, in appearance, on singular architectural principles. One or two of the wind instruments in the orchestra wandered off occasionally to parts unknown, the bâton of the conductor being unable to stop them. With the exception of three of the principal singers, the performance was curious rather than artistic.”