New-Yorker Stadt-Theater Opera: Lohengrin

“For the first time.” 

“Wagner’s grand opera—probably the best and most sensible of all his lyric works—was revived at the German opera house last night before an overwhelming audience. Three years ago it was first brought out by Mr. Neuendorf, with Mme. Lichtmay, Mme. Himmer and Messrs. Habelman, Vierling, Franosch and Formes in the cast. Inadequate as the representatives in both cases are to do anything like justice to an opera that would tax to the fullest extent the resources of any opera company in the world, yet enough was shown to testify to the colossal proportions in which Wagner has cast this wild legend of chivalry. The principal rôles were distributed last night as follows [lists cast]. Mme. Lichtmay sang the difficult music of her rôle correctly and intelligently, notwithstanding the severe strain at times on the upper notes of her voice, which have evidently deteriorated within the last three years. Mme. Perl was a far better Ortrud in both singing and acting than her predecessor in the same rôle. In the second act, in the opening scene with Telramund, where she taunts him with yielding to his rival after a single combat, Mme. Perl exhibited high dramatic qualities, which, owing to the inability of the baritone to sing without shouting, would otherwise have been a failure. Both ladies—Mme. Lichtmay and Mme. Perl—interpreted the lovely scene in the same act, commencing with Elsa’s aria on the balcony, ‘Euch Luften, die mein Klagen, so trauig oft erfullt,” and ending with the duet, ‘Kehr’ bei mir ein!’ the gem of the opera, with passion and effect worthy of better surroundings. The tenor is, at most, a correct singer, and is always in tune and in time, but his voice is not agreeable to listen to, particularly owing to the fact that he is too chary about opening his mouth. The voice, not having a sufficient outlet, is dealt forth in homeopathic fashion. Neither the baritone nor the basso call for a word of commendation, but Mr. Blum, who undertook a comparatively small part, created a favorable impression. He has a good voice and knows how to use it.

The orchestra, although one third smaller than the exigencies of such a work would require, was fair enough, making no mistakes, and innocent of expression or color. The trumpeters on the stage, four in number, insisted upon always coming in at the wrong place, in which laudable undertaking they were prompted and ably assisted by the chorus, which was not as one could desire. The dresses of the principal characters were really gorgeous, and yet in keeping with the author’s idea, and the mise en scène the same as the Stadt Theatre always affords. Taking into consideration the difficulties in the path of a manager attempting to present opera in such a house, Mr. Herman Grau deserves much credit for the bold enterprise he entered into last night.”