Armand German Opera: Fidelio

Event Information

Thalia Theater

Proprietor / Lessee:
Eduard Härting

Manager / Director:
Johann Armand [tenor, director]

Adolph Neuendorff

Price: $1 orchestra reserved; $1.50 balcony; $.75 first tier; $.60 balcony reserved; $.50 parquet; $.30 second tier; $10 private booth (for 6 people)

Event Type:

Record Information


Last Updated:
4 November 2015

Performance Date(s) and Time(s)

18 Jan 1867, 9:00 PM

Program Details

The performance began at 9pm because of a snow delay.

Performers and/or Works Performed

aka Leonore, oder Der Triumph der ehelichen Liebe; Leonore, or The Triumph of Married Love; Fidelio, oder Die eheliche Liebe;
Composer(s): Beethoven
Text Author: Sonnleithner
Participants:  Armand German Opera;  F. C. Urchs (role: Minister);  Franz Himmer (role: Florestan);  Sophie Dziuba (role: Marceline);  Joseph Hermanns (role: Rocco);  Wilhelm Formes (role: Pizarro);  Mlle. [dancer] Natalie (role: Leonora);  Wilhelm Groschel [tenor and conductor] (role: Jaquino)


Advertisement: New-Yorker Staats-Zeitung und Herold, 17 January 1867.
Advertisement: New York Herald, 18 January 1867, 1.
Review: New York Herald, 19 January 1867, 4.

“Joseph Hermanns, one of the best bassos of the German stage, was the great attraction at the Thalia Theater last night. The opera of Fidelio was given, before an audience not remarkable for numbers. Miss Natalie took the part of the devoted Leonora, who braved all perils to save her imprisoned husband; Hermanns was the bluff, good-natured jailor, Rocco; Wilhelm Formes, the Governor, or heavy villain; Groschel, the turnkey, Jacquino; and Miss Sophie Dzuiba, the jailor’s daughter. Mr. Neuendorf deserves much praise for the excellent manner in which the orchestral parts of Beethoven’s great work were rendered. The orchestration of the opera is symphonic throughout, and requires an experienced conductor as Mr. Neuendorf proved last evening. The ensemble in the concerted vocal gems was remarkable for precision, and although none of the voices, with the exception of Hermann’s were beyond mediocrity, still they all showed thorough familiarity with the opera. When such a work runs smoothly it is more endurable than when the voices of greater caliber break down and jumble the music in the most admirable confusion. The most reprehensible thing in this theatre is the unnecessary delay between the acts.”

Review: New York Post, 19 January 1867.

“The German opera at the Thalia has enjoyed a fair proportion of patronage. Last evening Joseph Hermanns, one of the best bassos now in the country, appeared in ‘Fidelio.’ The orchestral performances under the direction of Mr. Neuendorf were especially admirable.”

Review: New-Yorker Staats-Zeitung und Herold, 19 January 1867, 8.

“Due to train delays caused by a snow storm, Hermanns arrived only five minutes to 8 pm at the theater. Under these circumstances, it was understandable that the performance did not go too well. Hermanns himself sang perfectly. Every number was enthusiastically applauded. The engagement of such a fine performer is of great importance for the German opera. Now the performance of several big operas is finally possible.”

Review: New-Yorker Staats-Zeitung und Herold, 20 January 1867, 4.

“Hermanns is a valuable enrichment to the ensemble. He is an excellent singer and performer. The audience received him with enthusiasm.”

Review: New-Yorker Musik-Zeitung, 26 January 1867, 392.

“Hermanns’ strong voice compensated for the lack of skill in acting and the rather monotone singing. Seelig’s voice is not a match for the part. Her high range is insufficient; it is forced and sharp sounding. We don’t want to speak about her acting; her colossal appearance makes a free and dramatically captivating performance impossible. Formes’ vocal range is not low enough; however, he did his best and deserves the ‘best-performance-of-this-evening-award’. The orchestra’s playing was much too loud and too restless.”

Review: Dwight's Journal of Music, 02 February 1867, 392.

“German Opera still struggles bravely on in the small Thalia theatre, not very well supported.”