Grover German Opera: Der Freischütz

Event Information

Academy of Music

Manager / Director:
Leonard Grover

Carl Anschütz

Event Type:

Record Information


Last Updated:
21 July 2011

Performance Date(s) and Time(s)

16 Sep 1864, Evening

Program Details

Performers and/or Works Performed

aka Der Freischutz; The Freeshooter; Freyschutz
Composer(s): Weber
Text Author: Kind
Participants:  Grover German Opera Company;  Edouard [bass-baritone] Haimer (role: Kilian);  M. Bremer (role: Samiel);  Joseph Weinlich (role: Caspar);  Anton Graf (role: the Hermit);  Marie Frederici (role: Agathe);  Heinrich Steinecke (role: Prince Ottokar);  Theodore Habelmann (role: Max);  Otto Lehman [bass] (role: Cuno);  Pauline Canissa (role: Aennchen)


Advertisement: New York Herald, 16 September 1864.

Announcement: New York Herald, 16 September 1864.

Announcement: New York Post, 16 September 1864.

Announcement: New-York Times, 16 September 1864, 5.

Announcement: Courrier des États-Unis, 16 September 1864.

Review: New York Herald, 17 September 1864.
“The Academy of Music wore its accustomed air of bon ton last evening.  The ladies were in full dress; bright opera cloaks and tastily arranged coiffures were plentiful in the house; in short, there were evidences that the habitues of the Opera have made up their minds to patronize the German troupe.
The performance was successful in every respect.  The mise en scene, the choruses and the orchestra were remarkably efficient.  We have seldom seen the opera (Der Freischutz) better given.  Mme. Frederici (Agathe) sang this role with greater success than anything she has appeared in yet.  We think this decidedly her best effort.  Habelmann, as Max, was also very successful. He was warmly applauded. We lack space to notice at length his truly excellent performance.  This artist is most deservedly becoming a very great favorite with the public.  Weinlich, who was the Caspar on this occasion, was well received by the public, and sang acceptably.  The other artists merit no particular mention; but one and all aided in making the performance a success.”
Review: New-York Times, 17 September 1864.
“The performance was excellent.  Herr Habelman (sic) never sung (sic) better. . . . The vocal gymnastics necessary for the second part of [Frederici’s] aria are not completely at her command, but the memorable slow movement that precedes it has rarely been given with better feeling or more quiet melodiousness.”
Review: Dwight's Journal of Music, 01 October 1864, 319-320.
“Frederici . . . possesses a fresh, powerful, sympathetic, and sufficiently extensive soprano voice.  Her execution is still imperfect, and her formation of tone not yet all that can be desired.  The character in which she pleased us best was that of Agatha in Der Freischütz; she gave the great scena, and especially the prayer, with remarkable inspiration, and the most correct taste. . . .
Fräulein Canissa possesses a good voice and a bad method, and too often sings false besides.  Her conception of character is superficial. . . .

Herr Habelmann possesses a flexible organ, sympathetic, and sufficiently powerful tenor voice, a good method besides, and knows how to make a careful use of his natural and acquired resources.  If we have a fault to find with this artist, it is that he occasionally oversteps the boundaries of good taste. His acting is also good.  As . . . Max in Der Freischütz, he leaves nothing to be desired. . . .

The most complete performance [of the season] was that of Der Freischütz; whose old yet ever new, soulful melodies proved their divine origin by their effect on all hearts not yet blasés.