Grover German Opera: Don Giovanni

“Mr. ISADORE LEHMAN . . . his first appearance since his arrival from Europe.”

COMMENT: Excerpts from this review have been attached to individual events.

“Mr. Grover, manager of the German Opera, opened the musical season with Gounod’s ‘Faust.’  The great interest, and overflowing attendance, with which the public in general has received the performances of the German opera troupe, is justified by the improved management displayed.  Mr. Anschutz, though completely at home at the conductor’s desk, and there scarcely surpassed by any one in energy and capability, is not suited to the position of manager.  The costumes and decorations are much superior to the former mise en scene of the company; chorus and orchestra strong in proportion, and very effective under Anschutz’s baton.  But to ensure the future of the German Opera, all flavor of dilettantism about it must be done away with, and some of the voices replaced by better and fresher ones; for singers of good will and little voices are not sufficient. If Mr. Grover succeeds in this, his will be the merit of having grounded a lasting existence for German opera in this country, and that in spite of clique and cabal and plot and counterplot; nor will he find his reward in pecuniary success alone, but also in the thanks and recognition of those to whom the welfare of art, in all its varied phases, is dear.

    The troupe consists of the following artists: Mme. Frederici, who 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 [sic]; she gave the great scena, and especially the prayer, with remarkable inspiration, and the most correct taste.  As Margarethe in ‘Faust,’ we consider her superior to all who have appeared in that character here, and when her acting has gained a little more finish—if it may, without  losing its charming naturalness, and without falling into conventionality—she is sure of success everywhere in this part.  She is wrong to undertake parts lying in so low a register as that of Nancy, in ‘Martha;’ she cannot render them with effect, and no voice can be forced out of its natural compass without evil consequences.

    Mme. Johannsen is a pains-taking artist; but she pleases us more in serious than in comic parts; in the latter her voice and acting display somewhat of triviality.  But for parts such as that of Rachel in the ‘Jewess,’ which requires immense power, her voice is no longer reliable enough, although her efforts are not altogether unsuccessful.

    Mme. Rotter is also a zealous artist; somewhat too zealous, perhaps; for we suspect that a noticeable deterioration of voice since her first appearance here may be in part owing to her over-exertions as an actress.

    Fräulein Canissa possesses a good voice and a bad method, and too often sings false besides.  Her conception of character is superficial.

    Herr Himmer is evidently a thoughtful, earnest artist.  It is only to be regretted that his voice is not sufficient for the demands of his intelligence, though it might be rendered far more effective by a more open production of tone.  Nothing can be said against his conception and representation of character; as Eleazar in ‘The Jewess,’ as Robert, as Faust, his acting not unfrequently [sic] reaches the sublime.

    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 the representative of Lyonel in ‘Martha,’ and Max in Der Freischütz, he leaves nothing to be desired.

    Every one knows what Karl Formes is, or at least what he was.  Formes is still superb at times in Bertram, Plunkett, etc.  But alas, that years of carelessness have in part destroyed an organ once so fine!  Can the singer who possesses a truly noble voice, show himself too heedful in his use of it? For the human instrument is no drum, whose skin, when worn out, may be renewed at pleasure.

    Herr Hermanns is in stage appearance, acting, and voice so excellent a representative of Mephisto, that it would be difficult to imagine a more complete embodiment of the hero of the cloven foot.  But in rôles taxing more especially the singer’s powers, Herr Hermanns want of method, the close quality of his upper tones, a lack of decision in the lower ones, and his habit of gliding a third, a fifth, sometimes even an octave in attacking certain tones, renders his good bass voice comparatively ineffective.

    Herr Steinecke is a useful member of the company; although possessing little voice; but his intelligent acting partly atones for that deficiency, in characters of secondary importance.

    As we have already said, the chorus and orchestra are excellent; indeed the chorus singers merit especial praise for their lively, careful, natural singing and—acting!

    The operas given by Mr. Grover’s company during the representations of two weeks have been ‘Faust,’ ‘Martha,’ ‘Der Freischütz,’ Robert le Diable,’ ‘The Jewess’; and ‘Don Giovanni’ is promised for this (Tuesday) evening, with two new singers lately arrived from Europe,—Fräulein Djiuba and Herr Lehmanns—in the cast.  Quite a good repertory for so short a season.

    The most complete performance 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.  ‘Robert’ was put upon the stage after a single rehearsal and went indifferently as regards theatrical effects, in consequence.  The second performance was altogether an improvement on the first.  ‘Faust’ is still the public favorite, and the commonplace soldiers’ chorus is still encored, to the horror of musical ears.  In consequence of Himmer’s illness, an Italian tenor, Tamaro, undertook the part of Faust with success.  ‘The Jewess’ was much cut, and on the first performance might have gone more smoothly; its great music, too, almost necessitates voices of immense power; but notwithstanding the need of them in the three principal parts, still from the dramatic talent of the artists engaged, the representation was an effective one.”