Grover German Opera: Die Zauberflöte

      Complete cast list 

      Full cast list.  “The Magic Flute is destined during the current European seasons at Paris and London to the leading position in the Repertoires.  Its revival with Adalina [sic] Patti is attended with the most wonderful success.  The music has ever been received as the very best of the great Maestro Mozart.  The cast is a very difficult one to obtain in any Grand Opera Company, as Nine Important Donnas and the heaviest strength of male artists are required.  This has occasioned its production at any American Opera House an event of rare occurrence.”

      “The opera was put on the stage in unexceptionable style, and was well sung throughout.  Mlle Frederici as Pamina sustained the reputation she has already established as an excellent artiste.  Madame Rotter was very acceptable as the Queen of Night.  Mr. Habelman [sic] acted the part of Tamino with a good deal of effect, and sang well.  There was some slight misunderstanding as to the artist who was to sing the basso part of Sarastro.  Mr. Weinlich, it appears, was announced for the part in the German papers, and Mr. Hermans [sic] in the other journals.  The consequence was that both gentlemen were prepared for the role.  Mr. Hermans [sic] came before the curtain and announced his willingness to sing the part, but subsequently very good-naturedly withdrew in favor of Mr. Weinlich.  The opera was received with great applause and demonstrations of satisfaction.”

      “Mozart’s opera of the ‘Magic Flute’ was given here on Tuesday evening, to a good house – the best of the week.  We take this opportunity of remarking that there was a perceptible improvement in the attendance at all our places of amusement last night.  Mozart’s well-known opera has recently achieved a very marked success in Paris.  The charm of its melodies, the variety and ingeniousness of its ensemble, entitle it to warmest recognition in any land.  The Parisians, however, enjoy one advantage over ourselves.  They are not compelled to listen to the awful twaddle of the libretto.  A new version has been prepared for their acceptance, and the various scenes have been linked together with some degree of consistency.  For us there remains the old Vienna trash, amusing, to be sure, but not otherwise edifying; tending in fact to that condition so suggestively illustrated in the case of papageno [sic], namely, locked-jaw.  Mr. Grover’s caste [sic] was exceedingly good; better than any we have ever had in this city.  There was a mistake, however, in the announcement of Mr. Hermann’s [sic] name, the part of Sarastro being sung not by that gentleman, but by Mr. Weinlich.  The usual apology was made before the curtain, but it did not wholly satisfy Mr. Hermann [sic], who at the end of the first act appeared before the curtain, and stated that it was not unwillingness that prevented his appearing in the part.  The matter ended here, and Mr. Weinlich, who was in excellent voice, sang the role.  A few superfluous hisses were directed at his unoffending head but he maintained his ground, and did well.  Beyond this incident, it is only necessary to say that the performance passed off pleasantly.”

      “Grover’s spring season of German Opera at the Academy of Music has not proved to be as successful as his fall series of entertainments.  In common with all places of amusement, the opera feels the effects of the Washington assassination.  A remarkable thing occurred at the Academy on the evening of the 2d inst., when the ‘Magic Flute’ was played.  Instead of the usual lack of performers by reason of ‘indisposition’ – so common with opera singers – there actually appeared two basso singers for one part, that of Sebastro [sic].  It seems that Hermans [sic] was cast the part, but he was inclined to ‘indisposition,’ so the management called in the services of Mr. Weinlich, as substitute.  Then the ill disposed basso, Hermans [sic], appeared, and wished to go on, but he was ruled off, and Weinlich went through the role to the satisfaction of the audience.  It’s a good thing to have ‘duplicate artists’ in an opera troupe.”