Anschütz German Opera: Le Postillon de Lonjumeau

“[P]roduced for the first time in America.”

Performers & time. “[P]resented for the first time in America.”

     At the German Opera Adams' [sic] charming opera, 'Le Postillon de Lonjumeau,' was the novelty of the week. It was produced to a crowded house, and met with a marked and well-deserved success. Its composer, a pupil of Boieldieu, made his reputation by this work, which abounds in flowing and pleasing melodies. The role of Madeline is well suited to the genre of Madame Rotter and was capitally sustained by her. Quint, who, whatever may be said of his voice, is a good actor, did his best to please the audience, and succeeded. The chorus and orchestra were, as usual, well-drilled and effective."

“Mr. Anschutz’s Opera, at Wallack's old theatre, is conducted with so much spirit and completeness, that it is no wonder it continues to attract not only the attention of the German but also of the American part of the musical community. It happens somewhat fortunately that the limits of the company and the capacity of the house, have compelled Mr. Anschutz to eschew for the moment the greater works of the German repertoire, and as a substitute, to revive some charming works of the French school. A few days ago we referred with pleasure to the enjoyable way in which Boieldieu's  'Jean de Paris' had been produced. It merited and obtained a decided success and has only been withdrawn in order that the 'Postillon of Lonjumeau' maght have a hearing. This work was produced on Friday evening, and with even more than the usual degree of favor. The music is of a kind that pleases on a first hearing, and satisfies on repetition, combining, as it does, all the vivacity of Auber, with a larger range of idea and expression than can usually be detected in that prolific author’s productions. The melodies are fluent and strongly marked; the orchestral suggestions with which they are accompanied full of meaning, and the choruses spirited and pleasing. It would be difficult to mention a word of similar propostions where these characteristics are more prominent, and almost as difficult to recall a performance where the best features (the orchestral and choral) of a charming work were better preserved. The orchestra and chorus, under Mr. Anschutz’s steady baton, could hardly have been more efficient; the soloists were full of enthusiasm for their parts, and sang wisely, if not too well. Herr Quint appeared to be laboring under a severe cold, but wrestled with the Romanza and the rest of the lengthy music with northern pluck, and not without success. Madame Rotter, as Madeline, somewhat exceeded the exigencies of her rôle, and, we regret to say, raged in the stormy points of her musical compass without mercy to the auricular susceptibilities of the audience. She has so much tact and talent, that it is a pity the lady should be deficient in musical elegance. Every singer possesses certain loud notes which art has failed to modify, but few care to exercise them so liberally as does Madame Rotter. Properly ‘toned down,’ the lady would be a good Madeline. The remaining characters were excellently sustained, and the whole impression being decidedly favorable to the composer and the management, the opera may be safely pronounced a marked success.”

Very brief mention. Doesn’t give exact date, only says “last week.”