New-Yorker Stadt-Theater Opera: Robert der Teufel

“The Hungarian prima donna, whose phenomenal voice in bravura singing has no living equal, and who won a pronounced triumph at the Academy of Music in Italian opera, even in the face of the most adverse circumstances, commenced last evening, at the Stadt Theatre, an engagement in German opera, under the direction of Herr Rullman. The grand work of Meyerbeer, ‘Robert the Devil,’ served as the medium of introducing the fair songstress to her compatriots in the Bowery opera house, she appearing in the rôle of the Princess Isabella, Mlle. Pauline Canissa as Alice and Herr Pflueger as Robert. When Mlle. Di Murska appeared, in the second act, her reception was as nearly and flattering as German enthusiasm could make it, and after her brilliant finished rendering of the opening aria, ‘Invano il fato’ (we use the Italian words, as more readily understood in this opera) the applause was deafening.”

“The second performance of Meyerbeer’s fantastic work, ‘Robert der Teufel,’ last night at the Stadt Theatre, was in many respects a great improvement on its predecessor. Mlle. Di Murska’s impersonation of the Princess Isabella is full of artistic interest, dramatically as well as vocally. In the first scene in which she appears, the cavatina, ‘Umsonst mein Hoffen,’ the ungrateful aria (trying but not calculated to produce an effect), ‘Idolt du meiner Seele’ and the martial finale, ‘Tont hoch empor’ revealed the wonderful power of her voice, and in the second scene of the Princess, the favorite cavatina, ‘Robert, mein Geliebter,’ and the duet ‘O Gott! sie die qual,’ were the most marked features. In Mlle. Di Murska’s impersonations it is not the phenomenal quality and range of her voice alone that command admiration, but also the exquisite finish of her phrasing, the unvarying correctness of tone (her musical organization is so unerring that she could not sing out of tune even if she tried), and the high intelligence she brings to the interpretation of the music. Other artists may have larger voices, as far as tone is concerned, and others histrionic abilities of the highest order, but none can excel Di Murska in artistic finish or can equal her in bravura singing. The Alice of Mlle. Pauline Canissa was a lyric portraiture worthy of accompanying Di Murska’s Princess. The scene amid the ruins of the monastery of St. Irene, which calls for high dramatic talent, as well as vocal power from the prima donna, lost none of its intense interest in the hands of ‘die Kleine Paulina.’ She sung the well known aria, ‘Eh’ich die Normandie verlassen’ with charming expression, and in the scene with Bertram and subsequently with Robert, the training and experience of an accomplished artist were apparent. Mr. Pflueger, whose progress as an operatic tenor within the past year has been considerable, made the title rôle interesting, but the Bertram of the evening might have been profitably omitted. The Helene was Mme. Kati Lanner, one of the most graceful danseuses we have had here since the days of Ellsler. The chef d’orchestre, Mr. Carlberg, deserves a word of praise for the efficiency of the department. A singular feature of last night’s representation was that the four principal members of the cast are Hungarians.” 

“Ever since the days of Carl Anschutz, who at one time seemed to be successful in establishing for us a permanent German opera, that institution has led but a sickly sort of life here. In Germany, cities with but half as many inhabitants as the German population of New York have well-appointed opera houses, fairly patronized for a good part of the year. Here, it is different. Opera troupes come and go, local artists of ability give fair performances, but all are in vain. Our German citizens prefer either the American theatres or the lager-bier saloons. Only when a great star like Wachtel or Lucca is on the stage are the gloomy recesses of the Stadt Theatre filled with paying audiences. All other attempts end in failure.

Such, we presume, has been the latest effort of Mr. Rullmann. He secured the opera troupe of which Pfluger and Lehman are the tenor and baritone, and with Di Murska and Canissa as prima donnas tried to lure the wily Teuton to his net. The bait certainly seemed attractive; but the lyric angling was all in vain. The Teuton declined to be lured, and after two very creditable performances the house was closed without a word of explanation.

The fact is, Di Murska is too light and ethereal for the rather massive taste of the German opera-goer. She is a most accomplished artist, a phenomenon of vocal execution and brilliancy. She should be heard on the Italian stage with a first-class company, but during her stay here her surroundings have been most unfortunate, and the finest bravura singer of Europe has only been indifferently rewarded for crossing the ocean.

The New York Germans, in the meanwhile, have thrown away by their apathy the chance of having a very enjoyable season of opera; unless, indeed, the manager gives them—as it is rumored he may do—another opportunity.”