Anschütz German Opera: Barbieri di Siviglia

“German Opera.  Mr. Anschütz’s troupe will present the charming Rossini opera, ‘The Barber of Seville’ with a very good cast.  It hasn’t been given here for a long time even though, unlike ‘Stradella,’ it is beloved by Americans.  For that reason, we believe the Academy of Music will be filled this evening.

 

In ‘Barber’ the baritone, Mr. Reinecke, whose voice and acting was greatly praised in the newspapers of Baltimore and Philadelphia, will appear for the first time before a New York audience.  Mr Habelmann sings ‘Almaviva,’ a part which is perfect for his voice.  Mrs. Johannsen sings ‘Rosina,’ and Mr. Weinlich, ‘Bartolo.’

 

It is almost unnecessary to ask our readers again to support the efforts of Mr. Anschütz, since we foster the confident conviction that Germans in New York will do everything in their power not only temporarily to conserve a national institution, which German opera is, but also to help insure its continuance for the long term.”

“The opera of the Barber of seville is the completest comic opera ever written. It never grows stale, and its beauties are as fluent as on the day they were written--, which e believe was during the war between Great Britain and America--about 1812. Its volatility of utterances is so complete that it bears--cum grand salis--translations into other languages. We have had it in the good old opera days of Mrs. Joseph Wood and Mr. and mrs. Seguin in English (why can we not have such things now in a snug acting theater?)--and here we have it in German. There is a certain unction in the delivery of this work by the Teutons quite different from that of ‘the Latin race’--to use the new phrase. The difference is pleasant. Figaro cannot be otherwise than agreeable in whatever language he may be put; Count Almaviva is graceful despite of gutterals, and Rosina lively notwithstanding northern consonants.

 

[Lists cast.]

 

There was about as much applause as usually attends the performance of the Barber; which however is not so great as that which follows the declamation of more intense or tragic phrases; but to connoisseurs the music has an especial charm throughout every current phrase, though they may not be demonstrative in applause. Madam Johannson executed the florid music with music skill; and the tenor gave his roulades with liveliness, and showed that in Germany they study old-fashioned vocal lessons. The duet betwixt tenor and bass passed off with much spirit. So too Figaro’s solos. The finale to act I [sic] is such a flood of hasty notes, that no criticism is adequate to analyze or follow them.

 

On the whole, we think it would be better, if the repertory allow it, to give as many original German operas as possible; but, after all the time, talent, and capital spent on the production of operas, there are very, very few for a manager to draw upon. Hence about one dozen operas, all told, have worn out the souls and bodies of the barrel organs; and there are not melodious ones undiscovered to draw upon for variety--and it must be borne in mind that not withstanding anything that may be said to the contrary, no opera can succeed which is not full of memorable melody, and every composer who attempts to write an opera without the gift of popular dramatic melody--in addition to all the technical or academic experience or qualifications--fails in his mission.

 

We regret to mention that the second night showed no improvement as to numbers of the audience over the first. Is there not taste in New-York to maintain German opera?”

“The second performance of the German Opera Company drew quite a crowd to the Academy of Music last night.  Performed was Il barbiere di Siviglia, which we would have preferred to see for the opening of the German opera season instead of Flotow’s Stradella, which is not favored by the American audience at all, and the Germans are tired of hearing it since the music is so well known.  Mrs. Johannsen as ‘Rosina’ demonstrated to us that she is also comfortable in the character of a rather waggish role; ‘Rosina’ could easily become one of her special roles to perform, if only no minor objections were to be raised. 

 

She is lacking the melting sweetness and the freshness in her voice, however, to fill the part completely.  Rossini, whose unparalleled understanding of the human voice, the most beautiful of all instruments, and his gift to draw the most effective sounds from it, wrote this part for a mezzo soprano, starting with a low G and the fullest voice from C to G in the first descant octave [octave beginning with middle C] and in the first half of the second octave.  Mrs. Johannsen, however, does not have a full voice before reaching the second octave and seems to only reach down to the A or G with effort.  No Italian or German maestro, and certainly not Mr. Anschütz, would have objected to transposing the music to suit the singer’s vocal ranges.  

 

Mrs. Johannsen did modify the music in some parts, which we cordially grant her, as long as her embellishments are tasteful.  However, it is not about an overembellishment of Rossini’s already lavishly decorated work, but instead about adapting the embellishments to her voice and also making them suit modern technique.  The peculiarity of her voice, however, does not allow her to stand out in the ensemble scenes as well as other Rosinas we have heard.  Because of that fact we will not find fault with her.  Mr. Habelmann sang the difficult part of ‘Count Almaviva’ with taste and diligence.  Where he could not impress with coloratura skill, he made up for with the fine sound of his voice, his musical confidence and thoughtful acting.  

 

Mr. Steinicke, who is new to us, did not meet our expectations.  He was able to understand the spirit of the Italians and gave us a comprehensive and characteristic image of the jolly wag of the Barber.  Vocally, however, he did not meet the requirements of this part.  Years ago, Mr. Steinecke…”

 

The review stops here, the second page missing.

“Mr. Carl Anschutz’s German experiment commenced at the Academy of Music on Wednesday last. Three performances in all have been given--on the night we have named, on Friday and on Saturday. If it were the province of journalism to refer to management, we might find in these three entertainments a theme for comment. We might ask, is it good policy to have the house half empty on the opening night? Is it judicious to try to revolutionize the entire system of management, simply because inexperienced persons, with theoretical ideas, happen to find themselves in authority? Mr. Anschutz requires a large and hearty background of supporters. He is attempting a severe task--the education of the public in a particular kind of music. To increase the numbers of that public should be an object with him; not to oppress or weary those who are already on his side. There is no bore so intolerable as an empty house; yet this affliction has been suffered by every one visiting the German opera on the nights we have named. There were a certain number of subscribers and a few outsiders--sufficient, we hope, to pay expenses--on every night, but the general effect of bare benches was calculated to make the average mind regret its kid gloves. But these matters are for the managerial judgment. Beyond briefly glancing at these we desire nothing better than to leave them alone.

 

The three performances we have referred to have introduced all the male singers of Mr. Anschutz’s company, and we may say of the latter that whatever may be their shortcomings in point of volume of voice, they are by no means deficient in intelligence or in the ability to use their resources to the best advantage. The Academy is a trying place for the voice. Nothing but strength tells there. We must look, therefore, to those departments where this quality is exhibited to find the material for unqualified praise. We find it easily enough in the orchestra and chorus, and as German opera depends so largely on those important, but generally neglected features, we think we can discover the germ of future prosperity in their completeness. Mr. Anschutz’s orchestra is collectively stronger and individually better than any orchestra we have had in the City for many years. Guided by the nervous bâton of the conductor, it sketches out the plan of a work with rare vigor and fidelity. The chorus is unusually good; better, indeed, than any chorus that we remember to have heard at the Academy. In these two masses the musician finds a true source or artistic enjoyment. They impart closeness and unity to every performance. The ensembles are invariably spirited; the orchestral figures nicely and even delicately preserved, and--we may add--the soloists are at least better than any German soloists we have had before. If the public desires to hear German opera, it can do so well and assuredly comfortably at the Academy. There are only two or three houses in Germany where in all these particulars Mr. Anschutz’s company is excelled. New-York, in point of Teuton population, is said to be the third Germany city of the world. The day is not distant when it will boast of a theatre more accurately adapted to the calibre of German voices. The Academy is too large; it requires singers such as Italy only can supply. Until that day comes, it is the duty of every German to support the parent enterprise; to make strong the hands of the management, and to be content with a very palpable progress towards perfection. Mr. Anschutz has several important works in progress, which he will produce with all the expedition possible.”