Anschütz German Opera: Fidelio

“The Arion Society has kindly consented to assist in the Grand Choruses. The Orchestra will also be greatly increased, and the cast contains the names of the two favorite Prime Donne and all the Artists of the Company.”

“[T]he famous Arion Society reinforcing the [chorus] in the prison scene.”

“New Costumes, New Scenery, And Greatly Increased Orchestra.”

“This opera is justly held in high attention in Germany, and we look for its conscientious production at the hands of Herr Anschutz. Auber’s ‘Mason and Locksmith,’ the ‘Der Wildschutz’ of Lortzing, and Bristow’s ‘Rip Van Winkle,’ are in preparation.”

     There are a large number of our musical amateurs, but not half enough, who are aware that in the little theatre on Broadway, near Broome street, may be heard some of the finest music ever offered to our citizens. Beethoven's 'Fidelio,' as played last night by Anschutz's company at the 'Deutsche Oper,' was a signal instance of this. As far as the excellence of performance. both vocal and orchestral, and hearty and appreciative applause from the audience are concerned, the representation last night was fully worthy of the fashionable Academy of Music.

     The 'Fidelio' of the evening, Madame Johannsen, has sung the part in Europe with Roger, the tenor. She is not fully known or appreciated here. Schumann, to whom she has sung his own songs, appreciated her talents; and Lizst has given her kind words of encouragement. This was when she first went on the lyric stage. After a series of successes in different opera-houses of Germany, Johannsen came to this country and sang a while at Niblo's, but subsequently family troubles took away her interest in lyric life, and for some years past she has taught music at Philadelphia. When Anschutz formed his opera troupe he selected Johannsen as prima donna, and she has been his main stay so far.

        But in none of the lighter operas in which she has previously sung does this prima donna appear to such advantage as in ‘Fidelio.’ We doubt if there is a singer in this country who could take this difficult, dramatic, and arduous part so well. It is one that calls for vocal ability without allowing vocal display. There are no brilliant cadenzas, as in Italian operas, to charm the ear and draw forth sudden applause; but the singer of Fidelio’s music must earn success by conscientious work, and she cannot do this work without being a good musician.  Madame Johannsen is this, and her musical education is built up on a powerful, rich soprano voice, whose only fault is a slight tendency to the tremolo.

       Madame Rotter also sings charmingly in this opera, and aids greatly in its success. Weinlich is good as the jailer Rocco, and sings more correctly than hitherto. Lotti as Florestan sings sweetly, but was too frightened last night to do himself much justice. The minor characters are tolerably given, while the choruses of the Arion Society, are among the features of the work.

       A work is a very appropriate title for this great opera of Beethoven.  It is work to sing it, and work to play it, and work even to listen to it. There is so much fine music in ‘Fidelio’ that it causes a musical indigestion–one hearing does not suffice for its comprehension. The orchestration–rich, full and varied–could be listened to without any vocal parts at all, as to a series of symphonic compositions.Take, for instance, the orchestration in the grave-digging scene, or the three fine overtures composed by Beethoven for this opera. All of these overtures are played--that known as the 'Leonora, No. 3,' exciting the liveliest applause. The vocal parts shine to better advantage in the last two acts, the first and longest containing much that is undoubtedly heavy.

       The audience last night was very enthusiastic, showering the singers with bouquets and calling Anschutz to receive their applause. The opera proved the success of the German season, and will be repeated on Monday. If the present operatic enterprise be sustained, Mr. Anschutz will be able to import for next season the requisite male singers who are now sadly wanted in his troupe.”

      "German Opera.--Mr. Anschutz produced last evening--with a degree of enterprise which seems at most unnecessary when his recent successes are remembered--Beethoven's first an only opera, 'Fidelio.' Of this work it is almost unnecessary to write. It has obtained its position in the world of art and all that could be said for a year would not shift it higher or lower in the esteem of musicians. Those who regard it as the best opera in the world hear it with a delight peculiar to themselves; they who have reverence for a great name sit reverently for three hours, yawn a little and go home content with having performed a duty. A word may be edged in, aside from the discussion of parties. Beethoven wrote this opera as the ancients wrote tragedies–to seize emotion at its height, and to show you, with as little hesitation as possible, its open workings and intensities. There is very little action in the play--very little variety in the music; but there is grandeur in the whole, regarded from the right point of view. In the present day we require dramatist and musician to bring us by slow stages from the youth of the heroine to her premature decay. We insist on knowing her early history before we compromise ourselves to her outbursts. Without this we rather laugh at her intensity, and look suspiciously on her tears. Beethoven, with the disregard for the world which true genius ordinarily displays, has imposed no wordly conditions on his pen. He writes as though passion, not platitude, were the order of life. The result is a work full of magnificent imaginings, and delightful to the dilletant [sic] who views music as music, and not as a poetic shadow of life; but it is nevertheless somewhat overlaid and heavy to the ordinary run of people.

            The performance of this work last night at Mr. Anschutz’s charming little house exceeded our best expectations. Mme. Johannsen as Leonore was simply superb. In all the requisites of a great artiste–perception, execution and force–she left nothing to be desired.  It is no compliment to say that there is no other artist in the country who can do such justice to so difficult a role. Herr Lotti as Florestan was also excellent. The remaining parts were intrusted to careful artists of the establishment, and the choruses were interpreted by one of the best German singing Societies of the country. In a word, we wish it to be understood that the performance was one of the best ever given in New-York of this very difficult and interesting work.”

     “Beethoven's fine classical opera of 'Fidelio' was produced last evening at this house to one of the best audiences of the season, not withstanding the unfavorable character of the weather. [names of performers given] The opera was well put upon the stage, the costumes and accessories having been got up expressly for the occasion. Madame Johannsen made a most excellent Fidelio, her effective style of singing and dramatic intelligence qualifying her admirably for the part. Madame Rotter sustained the role of Marcelline with her usual animation and spirit, and the other parts were also very well filled. The satisfaction of the audience with the music of this fine work was attested by their enforcing the repetition of all its principal morceaux.”

“The German Opera continues to prosper at Wallack’s old stand. Now that we have the Italian Opera at the Academy of Music is the time for ‘our folks’ to make their own comparisons. . . . [Anschutz] follows up his triumphs with Beethoven’s ‘Fidelio.’”

“New York, Nov. 19. — ‘Fidelio’ and the ‘Magic Flute’ have bcen the re-productions of the past two weeks at the German Opera. With all our admiration for the musie, we found it difficult to enjoy Mozart's celebrated work. Surely, he was wanting in the respect he owed to his own genius, he carried complaisance too far, when he accepted such a foolish libretto!

Still deeply moved, still freshly impressed by a hearing of Beethoven's wonderful ‘Fidelio,’ it will be difficult for us to convey an idea of the beauty of this sublime creation to those who have not heard it; and those who have, know how ineffectual is the power of words to express the influence and effect of such music. We had never heard the opera before; a dear mother had cautioned us against first hearings: any careless rendition of ‘Fidelio,’ and rendered our fancy difficult to please, by her description of Schröder-Devrient's great power in isolated points, and Malibran's more womanly and heart-rending pathos in the whole part of Leonora. Our acquaintance with ‘Fidelio’ had been confined to the score, the biographers, and those extracts, few and far between, which are to be heard at concerts. After even this familiarity, the hearing of the whole was a species of surprise, and it is something to thank God for, when one has heard, and is able in part to comprehend, such music. In this ideal work we breathe a pure atmosphere, we hear the natural language of lofty, noble souls; there is surely no opera in existence that more fully expresses the feeling of the characters, than this; it takes both judgment and imagination captive. From first to last, here is no patchwork, no filling in; the interest never flags; impassioned vocal accents, profound instrumentation, warm, living feeling, render this admirable creation almost painfully beautiful. Even the weakness of the opera (the too great elevation of character in some of the music belonging to the subordinate parts) seems to proceed from the unwillingness which the great Beethoven must have felt in descending from the heroic height of Leonora's womanly devotion, to the common-place level of Marcellina's improbable love for the supposed Fidelio, Jaquino's stupid importunity, and the every-day prudence and servile obedience of Rocco.

On the whole the opera was effectively given, the chorus augmented by the addition of several members of the Arion Society; the work was divided into three acts; the orchestra first played the Fidelio overture; between the first and second acts, the original one ; and before the last, the " Leonore " overture, No. 3. It was a happy idea to give these on the same evening; all honor to Mr. Anschuetz's directorial energy! he is doing that very uncommon thing among managers, — keeping his word as to the continual and careful production of fine works. Crowded houses have received ‘Fidelio’ with emotion and enthusiasm; it has rained bouquets (deserved, but out of place except between the acts), and encores and recalls have been attempted or effected after each act, and almost every number. As Leonora, Mme. Johannsen appeared to more advantage than on any occasion during the present season. Her vocal means were not always sufficient to fulfil the demands of the music, but her earnest and intelligent acting was more than satisfactory, especially in the terrible dungeon scene, which, with the prisoners' chorus (0 welche Lust!) we might call Dantesque, but that Beethoven has a depth of human feeling, such as never warmed the heart of the grim Florentine. Mr. Lotti, in the part of Florestan, showed improvement.”

General review of Fidelio – doesn’t mention a specific date.  “’Fidelio’ has . . . been the great success of the season.  Madame Johannsen singing and acting the part superbly.  This lady has been in oblivion and Philadelphia for some years back, but now resumes lyric life and is vastly increasing her reputation.  The tenor, Lotti, acts and sings as if he were frightened to death.  Weinlich, the basso, is admirable as Rocco, but unsatisfactory in his other parts.”