Anschütz German Opera: Fidelio

“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.”

“How lovely it is to come out of the theater or opera house and be able to say, in Schiller’s words, ‘We feel as though our senses were awakened; the healing ardor stirs our blood and jolts our very nature.’  However, since our performances exhaust all of life’s situations (not as often as the Poet might like) and illuminate every corner of the heart, on Saturday in the Academy of Music Good Fortune brought us such a heightened mood as would otherwise be difficult to encounter: this was the only opera by the great composer, Beethoven.  The opera was scarcely attended.  The opera deserved a full house, and we expected it.  But we were mistaken: there were empty seats for the performance and this pleasure was missed by thousands, even though ‘Fidelio’ is so seldom performed in this hall.  It was an excellent performance, but it was affected in its vibrancy by the depression of the performers about the very small audience.  

 

There were some cast changes since last season.  Mr. Reinecke as ‘Pizarro’ and Mr. Habelmann in the small but very important part of ‘Jaquino’ lifted the quality of the performance, compared to the singers filling these parts last season.  The other new cast member, Mr. Himmel, was less convincing as ‘Florestan’ than Mr. Lotti, who had previously sung that part.  We will hold off reviewing Mr. Himmel’s skills until we have seen him as ‘Lionel,’ which role he was praised for in the Philadelphia newspapers.  Only after tomorrow will we be able to say more about him, hopefully in his favor.  

 

Mme. Johannen’s skills in Fidelio are well known.  She was less disposed on Saturday night than on the night before as ‘Rosina.’  Mad. Carnissa sang her part as ‘Marcelina’ with taste; she struggled, however, to fill the wide halls of the Academy with her pretty voice.  Mr. Weinlich as ‘Rocco’ showed us that he knows how to handle Beethoven’s music well.  We liked him best in the song, ‘Es ist ein schönes Ding, das Gold.’

 

The choruses were sung with precision and sensitivity by the Arion; the orchestra was led with confidence, understanding and fire by the master hand of Mr. Anschütz, despite the embarrassment certainly felt, playing in front of an almost empty house.”

“The German Opera Company of Herr Anschutz gave, on Saturday, the serious opera of Beethoven--Fidelio--the only musical drama of the eminent composer. The orchestra was led with splendid vigor by Herr Anschutz, and never before did the numerous elaborations and transcendentalisms came [sic] out in such bold relief in the Academy. The chorus was by far the most effective we have heard for a long time. For years, strange to say, the numbers of the orchestra have declined, until they became (the relative size of the great Academy considered in comparison with the former Astor Place Opera House) less than a third of the once practiced body of sonorousness, and only two-thirds actually of the size fourteen years ago. It is therefore something gained to find additional vigor and temper in Herr Anschutz’s orchestra. Madame Johannsen entered with true German fervor into the action and singing of the devoted wife, and met with much applause. Herr Habelmann made a most favorable impression--and the four principal singers did so well in the quartet that there was an encore.

 

But what is the use of giving Beethoven’s music to Germans? They talk of him, and when his opera is played hardly a corporal’s guard comes to see it--and that in a city of which it is and there are as many Germans as in any city in Europe with the exception of two!"