Anschütz German Opera: Martha

     “To-day there will be matinee at the Academy of Music, when the favorite opera of ‘Martha’ will be performed with the strongest cast which the company can furnish.”

Cast.

     “Flotow’s Martha was given at the Academy yesterday at a matinée. It was admirably sung in the original German version, the closing scene in the second act and the duo and finale in the fourth act being preserved. Formes was very fine as Plunkett [sic], and a little more forcible, perhaps, in his acting than usual. There was an innovation in the first act which did not occur to us as in very good taste, although it developed in a very ‘striking’ manner the pugilistic qualities of Mr. Formes. We refer to the knock down episode with which the act wound up. We prefer the Italian method of finishing this act, in its milder fashion, to the more demonstrative German style, and so, we think, did a majority of the audience. It is a pity that the voice of Mr. Himmer, the tenor, is so unequally and apparently unreliable. In some parts of the opera he sang remarkably well, and fully deserved the applause he received. In others he was weak and uncertain. Madame Rotter and Mademoiselle Dziuba, as Henriette and Nancy, did all that could be accomplished with their qualities of voice and the light parts they had to sustain. The choruses were excellent throughout, lacking nothing in strength or precision. The house was not as large as matinées usually attract but we may attribute that to the fact that the public mind has not yet quite returned to its old channels of pleasure and enjoyment.”

     “Amusements. The matinée at the German opera on Saturday failed to excite the usual degree of interest. It was, to speak plainly, badly attended. Although we may partly account for this by the fact that the National Academy is now the popular lounging place, and the sterner fact that Saturday was set aside from the domestic convulsion called moving, there is still another reason. The people have had enough of ‘Martha.’ That highly respectable work has played its part in every known tongue. There is no longer speech for it, and, respectfully, we think it ought to be dumb. Another remark, pertinent to the subject. The Italians can afford to ease off a hard week’s work with a light performance on Saturday; but the Germans cannot. In the one case, people go on the strength of reputation; in the other, it is a mere matter of repertoire. To-night, for instance, we are sure the Academy of Music will be crowded to its greatest capacity. Beethoven’s only opera, ‘Fidelio,’ is to be produced.”