New-Yorker Stadt-Theater Opera: Sacred Concert

See event entry of 11/21/74: New-Yorker Stadt-Theater Opera: <i>Fledermaus</i> for this review in full, as it concerns both performances (but moreso the earlier).

“The crowd that packed this theatrical wilderness last night had much more comfort in obtaining ingress than it had in squeezing outside when the curtain fell for the last time. Those who had the misfortune to have front seats cast a forlorn look toward the lonely and only door that in time should restore to them the full rights of citizenship. It is an unfortunate fact that the mention of the Stadt Theatre always recalls not only the possibility of a conflagration, but suggests the impossibility of escape in case such a disaster should occur. To be sure, some improvements have been made in the way of ventilation, yet it is but right to warn the management that the Stadt Theatre still clings to its chronic feature, ‘Come in, come all and get out as best you can.’ The truth is, the audience have rough times making their way to the fresh air, and as Sunday seems to be the great day for the gathering of the patrons of the incongruous performance of German opéra bouffe, some provision should be made for the safe transfer of its patrons to the open street. This much by way of kindly advice and we now turn to the performance. The musical thefts of Strauss were so palpable in connection with ‘Die Fledermaus’ that comment would be wasted in referring to it. It has its sparkling features, its ‘waltzy’ eccentricities, for which the author is unrivalled, but with the exception of some adroit and ingenious imitations it is utterly destitute of those charming elements which have made Offenbach’s productions so universally popular. Miss Lina Mayr is an artiste, and in the rôle of Rosalind acquitted herself with credit. Whatever of praise should be meted out in regard to the performance—and it is limited indeed—accompanies the approbation which marked her efforts. The admirable impersonation of the prison inspector by Herr Witt was the only redeeming feature on the part of the male artists. Dress suits seemed to work a woeful influence over the others, but Witt, who is a good actor, made the house ring by his capital portraiture of an intoxicated official. The production requires but little chorus, and as much as the audience was treated to was very bad. Perhaps this might be attributed to the excited style in which Mr. Neuendorf belays the unfortunate orchestra under his vigorous charge. With the exception of Strauss no conductor who has ever visited the Empire City makes such unnecessary gesticulations as Mr. Neuendorf. Such irregular motions, instead of adding to the efficiency of a chorus, tend only to intimidate the poor singers on the stage and frighten the drummer into an unreasonable degree of disturbance.”