Anschütz German Opera: Die Entführung aus dem Serail

"The season of German Opera, tried by Carl Anschutz at Wallack's old theatre, continues prosperously. That part of the community to whom the language in which they are presented is familiar patronize the brave experiment with unexpected liberality; with a liberality, indeed, that might be emulated, with the most beneficial results to the interest of the Academy, by those who better love the opera in Italian. Carl Anschutz is an enterprising and judicious manager.  Without going to any very great expense, he puts a variety of the best serious and comic operas upon the stage with good taste and effect.  In Mme. Johannsen, he has a useful and accomplished prima donna, and she is efficently sustained by Mme. Rotter, Herr Lotti, Herr Weinlich, Herr Quint, and other singers of sufficent ability.  Mozart’s opera – little known here – of ‘The Seraglio’ will be given to-night.”

Gives review from MR&W.  Discussion of the opera and its background.  “This opera has been repeatedly performed by the Germans at Wallack’s, and each time with increased success. . . .

      The performance was in a great many respects satisfactory, especially when we consider that the energetic and able manager has no so-called stars at his disposal.  Mad. Johannsen sustained [her role] exceedingly well.  Mad. Rotter (Blonde) was as usual very funny and sang her part well.  She overdid, however, in some instances, and was here and there not quite – lady-like.  Mr. Lotti sang the part of Belmonte. The singer has a pretty voice and good delivery.  What he lacks, is soul and intelligence, unfortunately two little items, which are difficult to obtain. We are afraid , Mr. Lotti will never be able to boast of their possession. Mr. Quint did well with the part of Pedrillo; less acceptable was Mr. Weinlich as Osmin.  The orchestra, especially in the first two performances, was not quite so satisfactory as we are used to hear it under the direction of Mr. Anschutz. In conclusion let us say, that the overture, especially in its Presto movement, sounds rather thin and old fashioned at the present day; on the other side the Andante in C minor, so happily reproduced (in C major) by Belmonte in his first aria, sounds as fresh as ever, and will be still relished, when even this lively little opera shall have no other but a historica interest, a time which has by no means yet arrived.”