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.”

“This opera has been repeatedly performed by the Germans at Wallack's, and each time with increased success. Mozart wrote it, when he was engaged to Constanze Weber, and it is said, that the troubles and joys he felt at that time, are fully reflected in his music. We readily believe, that Belmont's (the tenor) beautiful strains are the echo of his own feelings and longings. Sweeter music and purer and loftier thoughts have never been put into a lover's mouth by any composer, not even by Mozart himself. Especially the second aria in A, ‘Constanze,’ is a gem, and became immediately a favorite of the public, when the opera was first performed, (in 1782). The third aria (in B flat) is of unsurpassed sweetness and tenderness, while the fourth and last bears a more manly and resolute character. It is very difficult, and was left out at the late performances.

The soprano part (Constanze) is less happily treated. It is evident, that when writing it, Mozart considered more the peculiar abilities of the prima donna who sang it first, and the then existing fashion, than his own genius and taste. The arias are full of ornaments, which sound to our ears old-fashioned, and, while all the rest of the opera can be keenly enjoyed by any modern audience, it is this soprano part, which reminds us that the opera was written eighty years ago. A really grand and grotesque figure is that of Osmin, the favorite of the Bashaw. It was not in the original book of the opera, and the credit of its introduction is entirely due to Mozart. The music, which this large, cunning and ugly fellow has to sing, is thoroughly comic, and his very first aria (in F) may be looked upon as the model for a great many arias, which since then have been written for comic operas by German authors. — Whatever Osmin does and sings, it is to the point and so exquisitely characteristic of the man, that we do not know of any other comic figure in Mozart's operas, which puts forth his dramatic genius in more prominent light. And just as if he was anxious to remind us of the versality [sic] of this genius, the master gives us in the roguish confidante of Constanze, in Blonde, another comic character, but of a different and more refined style, and a part just as happily planned and treated as that of Osmin. These two characters, together with that of Pedrillo, another of the prisoners of the Bashaw, whose serenade in D is an original and charming composition, quite modern in its style, form the chief characters of the work, which is very justly called the comic opera of the Germans. Mozart has never written any other dramatic music which is so thoroughly comic. His Nozze di Figaro is in this respect far more deficient, although the music itself is of a more elevated character. What gives an additional interest to the opera, is the fact, that it was the first Mozart wrote for the national theatre, which Joseph the second was polite enough to found in opposition to the Italian opera, which at that time ruled supreme, and to which he himself was more favorably inclined. Perhaps it was owing to the ruling taste of the day, although in general the music to The Seraglio may be called thoroughly German.

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 the ungrateful and difficult role of ‘Constanze’ 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. This 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. Anschütz. 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 Belmoute 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 historic interest, a time which has by no means yet arrived.” [Reprinted from Musical Review and World]