Grover German Opera: The Magic Flute

Event Information

Olympic Theatre

Manager / Director:
Leonard Grover

Adolph Neuendorff

Event Type:

Record Information


Last Updated:
10 November 2015

Performance Date(s) and Time(s)

06 Feb 1867, Evening

Program Details

Program detail: Ad in NYH (02/04/67) for the Merry wives of Windsor.

Performers and/or Works Performed

Participants:  Grover German Opera Company;  Elvira Naddie (role: Queen of the Night);  Joseph Hermanns;  Wilhelm Formes (role: Papageno);  Wilhelm Groschel [tenor and conductor] (role: Tamino);  Josef Chandon (role: Priest);  Johanna Rotter (role: Papagena);  Bertha Johannsen;  Marie Frederici (role: Pamina);  Franz Himmer
aka Magic Flute; Zauberflote
Composer(s): Mozart
Text Author: Schikaneder


Advertisement: New York Herald, 06 February 1867, 1.
Advertisement: New-York Times, 06 February 1867, 7.
Advertisement: New-Yorker Staats-Zeitung und Herold, 06 February 1867.
Review: New York Herald, 07 February 1867, 7.

“The third night of the German opera season at the Olympic theatre brought out the Magic Flute, a sportive effort of the tender imagination of Mozart.  The opera is not attractive in a dramatic sense, for a more absurd libretto could hardly be written; but the two creations of Papageno and Papagena are inimitable. Wilhelm Formes and Madame Rotter ably sustained both parts. The duet, ‘The Manly Heart,’ between Tamina (Mlle. Frederici) and Papageno in the first act received an overwhelming encore, as did also the exquisitely funny duet in the finale, between Formes and Mme. Rotter. Mlle. Naddi’s ‘Queen of Night’ may be classed among her happiest efforts in opera; but we would advise her to dismiss her attendants, for sundry vocal reasons, the next time the opera is given. Goschel’s voice is not particularly attractive, and his Tamino will never add much to his reputation. The orchestra was better than on the two preceding nights, which is saying a great deal for it. Chanden made a very grave and Hamlet sort of high priest, and got through his ungrateful part creditably. Mr. Grover’s company has excellent materials in it, and his enterprise deserves the hearty support of the public. Mlle. Naddi is a charming vocalist and a thoroughly finished actress; Mlle. Frederici has a good, sympathetic voice, although the lack of musical education is often apparent, and she seems to understand her roles well; Madame Rotter enters into the full spirit and appreciation of her part, and makes the most of her voice, and Madame Johannsen still preserves a great deal of her former power and sweetness of voice. Among the male voices there are three very fine bassos—Joseph Hermanns, Wilhelm Formes and Chandon. Himmer is an acceptable tenor, and his acting, although too Boweryish and melodramatic at times, is generally far superior to the thousand and one tenors we have been inflicted with in opera. The chorus is the best feature in the troupe, and, as it is the most necessary element in German opera, it will undoubtedly contribute the largest share to the success of the season. Adolph Neuendorf is an energetic conductor, and will, we hope, smooth down the rugged points in the orchestra ere the week is out. The latter, however, will compare favorably with any orchestra in the city at present for opera purposes.”

Announcement: New-York Daily Tribune, 07 February 1867.

“’Faust’ and ‘The Magic Flute’ have been given with sterling success and unusual force by Grover’s German Opera Troupe, at the Olympic.”

Review: Dwight's Journal of Music, 16 February 1867, 400.

“German Opera appears to be ‘reconstructed’ under its old impresario, Mr. Grover. The singers, tired of divisions and of experiments in little squads upon their own account, have rallied around Grover again, showing a disposition to be tractable. Grover has taken the Olympic theatre, where, besides the artists who have lately been singing at the Thalia (Mlle. Naddi, Wm. Formes, &c.), he has again about him Johannsen, Frederici, Rotter, Himmer, Hermanns, &c., making together a really stronger company than that which made so good a beginning two or three years ago. The repertoire, too, bids fair to be fine, judging from this paragraph in a late number of the Evening Post.” [quotes Evening Post review]