Neuendorff Dramatic and Operatic: Indigo und die vierzig R�uber

“Strauss’ opera, which has been a joy and pleasure in Vienna for a season, was brought out last night at the Germania Theatre for the first time in America. The house had the usual first night appearance, a great many people, much applause, and a large amount of expectations. Everything that could be done to make the opera a great success was contributed by Manager Neuendorff—a good cast, well-selected chorus, efficient orchestra, handsome costumes and gorgeous mise en scène. The opera is founded on the oft told and oft read story of ‘Ali Baba; or, the Forty Thieves,’ and a more bewitching robber chief than Miss Lina Mayr it would be impossible to find on the lyric boards, She gave the waltz song in the second act ‘Eine tausend und eine nacht’ with a dash and brio, being ably seconded by the chorus, that brought a thundering outburst of applause and an encore. Mr. Schutz as the love stricken Janis brought the charm of his well cultivated tenor voice as an attraction to the opera, and Mr. Merten found an ample field for the display of his powers as a comedian in the part of Ali Baba. The music is so entirely of the dance character, waltz, polka, galop, &c., that it cannot be considered from an aesthetical point of view. It is not cleverly put together for operatic purposes, and one misses the brightness and comic meaning of the libretto in the commonplace measures that bind the different parts of the waltz movements together. Offenbach, Hervé or Lecocq would have done more with such an enticing subject. The mind that sways the ballroom seems to be in a quandary when applied to operatic purposes. Giroflé-Girofla’ and ‘La Jolie Parfumeuse’ will be favorites long after ‘Indigo’ is forgotten. The scenery in the last act was worthy of any of our comedy theatres in magnificence and effect. The steamer in the last tableau was a wonder of stage effect and worked as well as if it was registered and had passed the inspection of the United States authorities. Altogether the opera was very nicely put on the stage, but its inherent weakness is a terrible drawback to its ultimate success.”