Anschütz German Opera: Der Freischütz

Cast, etc.

“The German opera has proved a happy hit so far, and if Anschutz takes advantage of the opportunity to produce a few new operas that will attract American as well as German amateurs, he may succeed in making the institution permanent. The company has as good female singers as many of the well known theatres of the Faderland, and the male singers, to say the least, do as well as they can.”

Doesn’t mention this specific performance. “The German Opera, too, commenced in doubt and, entered upon with limited means, has proved an unmistakable success. With increased resources, additional strength has been imparted to the company, and, including Johannsen, it is now the best of its kind that has played here within our recollection.”

“The experiment of our German friends, with their ‘Deutsche Opera,’ seems to be working along favorably.”

“Dramatically as well as musically, [Der Freischütz] appeared to give perfect satisfaction to the patrons of this popular place of amusement.”

“The German opera company continues in successful operation. ‘Stradella,’ ‘The Child of the Regiment,’ ‘Der Freischütz,’ and ‘Czar and Zimmermann,’ have been given more than once, during the past fortnight. The chorus and orchestra are really excellent, considering their small number, and the highest praise is due to Mr. Anschuetz, as a most efficient leader. Although the company is not what it might be, in purely vocal qualifications, there is far more perfection in the ensemble, more attention to the details of dress, action, grouping, &c., than we are accustomed to find on the most pretentious stage of the Academy; and this, with the enthusiasm of the usually crowded audience, renders the performance of this company most enjoyable. So far, the most interesting representation has been that of ‘Der Freischütz,’ that lovely romance of the greenwood, whose fresh melodies, sonorous instrumentation, and dramatic coloring, no repetition can render trite. Had Weber chosen to employ his fluent pen as the propagandist of his own music, he might have said, with far more truth than Mr. Wagner in speaking of his, that the melodies of the opera were intended to produce in the hearer ‘a mood of mind, similar to that awakened in the pedestrian who has just escaped the noise of the town, by the view of a beautiful forest at sunset;’ he might even have said with justice, that ‘this music will have an eternal echo within the hearer.’ If not what Wagner calls, in rather more vague and declamatory, than truly poetic, language, ‘the great, the unique melody of the forest,’ Weber's melodies, and well understood, his harmonies also, are among the most beautiful and truthful pictures of German woodland romance, pathos, and humor, that were ever presented by artist in tone, word, or color.

Frau Johannsen was by no means the ideal Agatha, but she gave a good outline of the part. Fran Rotter is, in her own parts, the most valuable member of the present company. A pretty person, a tasteful dresser, a charming actress, and as a singer, quite equal to the music she had to execute, she made a delightful Aennchen. Herr Quint, as Max, looked well, and we are so accustomed to the walking-sticks on the Italian and English stages in the tenor parts, that when we find a singer who, like Quint, acts intelligently and pleasingly, we are agreeably surprised, and apt to overlook his vocal shortcomings; but Herr Quint's cultivation as a vocalist is deficient in much that is needful, and people who cannot judge of what he might do, from what he does not do, scarcely give him credit for the fine voice he really possesses. Herr Weinlich sang and acted pretty well as Casper, but his ‘making up’ was a little exaggerated. The Wolf's Glen scene was as frightfully funny as usual. Stage machinists might reflect, we think, whether more effect might not be obtained from black and white, from darkness, and phantoms of gauze, than from rockets and cracker spitting devils, blue fire, and owls with smoking heads; tradition, and the little boys, might grumble at first, but singers' throats, at least, would thank them for a diminution of powder in the atmosphere.”