25 June 1828

Mademoiselle Henriette Sontag’s Dramatic Concert

London: New Argyll Rooms—Time: Evening, Eight o’Clock

Tickets: Pit, 10s. 6d.; Gallery, 5s., Boxes available

Programme

Part I
Overture, The Oracle (by desire)		Pixis
Duet, ‘Che bella vita e il militar’	Signors Pellegrini, Tori	Generali
Oboe Concertino	Mr. Vogt	Vogt
From La guerra aperta: Terzetto, ‘Giuro alla terra al cielo’	Signors Curioni, Pellegrini, Zuchelli	Guglielmi
From Der Freischütz: Act II, Principal Scene	Agata: Mlle Sontag; Annchen: Mme Schütz	Weber
Part II
Violin Airs with Variations	M. de Bériot	De Bériot
Aria	Mme Moria^[1]	Mercadante
Piano Fantasia, Anticipations of Scotland with Orchestral Accompaniments	Mr. Moscheles	Moscheles
Part III
From Die Schweizer Familie: Principal Scenes	Mlle Sontag, Mme Schütz, Mr. Schütz	Weigl

Principal Vocalists: Mlle Sontag, Mesdames Moria, Schütz; Mr. Schütz, Signors Curioni, Pellegrini, Tori, Zuchelli

Principal Instrumentalists: Messrs. Moscheles, Vogt, M. de Bériot

Leader: Signor Paolo Spagnoletti; Conductor: Mr. Robert Bochsao

^[1] It may refer to Mme Morin.

———————————

Charlotte: ‚Als aber die Sonntag am 25. Juni ein Dramatic Concert in der grossen Oper gab, war die Saison schon zu sehr vorgerückt, um das Local zu füllen. Und doch sang sie, unterstützt von Herrn und Madame Schütz die Hauptscenen aus dem „Freischütz” und der ”Schweizerfamilie”, und hatte in dem eigentlichen Concerttheil de Beriot und Moscheles zur Seite‘.
AML I, 198.

The Morning Post (June 20, 1828): 2.

KING’S THEATRE.—Maddle. SONTAG has the honour to announce to the Nobility, Subscribers to the Opera, and the Public, that she will give a DRAMATIC CONCERT, on WEDNESDAY next, at this Theatre. The Performance will consist of—I. Principal Scene of the Second Act of the Opera Der Freischutz, in German, as acted with unbounded success at the Theatres Royal of Vienna and Berlin. Agata, Mademoiselle Sontag; Annchen, Madame Schutz.—II. A miscellaneous Concert of Vocal and Instrumental Music, to which the most eminent Performers have promised their kind assistance.—III. Principal Scenes from the Lyric Opera, the Swiss Family, by Weigel.—Further particulars will be duly announced.—Boxes to be taken and Tickets had at the Opera Office, Haymarket.

The Morning Post (June 21, 1828): 1.

[Same as issued in The Morning Post on June 20]

The Morning Post (June 23, 1828): 2.

[Same as issued in The Morning Post on June 20]

The Morning Post (June 24, 1828): 1.

KING’S THEATRE.—Maddle. SONTAG has the honour to announce to the Nobility, Subscribers to the Opera, and the Public, that she will give a DRAMATIC CONCERT, TO-MORROW EVENING, the 25th instant, at thisTheatre.

Part I.—Overture (by desire), from the Opera “The Oracle,” (Pixis).—Duetto, “Che bella vita,” Signor Curioni and Signor Pellegrini, (Generali).—Concertino, Oboe, M. Vogt, (Vogt).—Terzetto, “Giuro alla terra,” Signor Curioni, Signor Pellegrini, and Signor Zuchelli, (Guglielmi.)—To conclude with the Principal Scene of the Second Act of Weber’s celebrated Opera, called Der Freischutz, in German, as acted with unbounded success at the Theatres Royal of Vienna and Berlin. Agata, Madlle. Sontag; Annchen, Madame Schutz.

Part II.—Air Varié, Violin, M. De Beriot, (De Beriot).—Aria, Madame Moria, (Mercadante); Fantasia, Grand Pianoforte, “Anticipations of Scotland,” M. Moscheles, with Orchestral Accompaniments. (Moscheles.)

The Morning Post (June 25, 1828): 1.

KING’S THEATRE.—Maddle. SONTAG has the honour to announce to the Nobility, Subscribers to the Opera, and the Public, that she will give a DRAMATIC CONCERT, at this Theatre, THIS EVENING.

Part I.—Overture (by desire), from the Opera “The Oracle,” (Pixis).—Duetto, “Che bella vita,” Signor Torri and Signor Pellegrini, (Generali).—Concertino, Oboe, M. Vogt, (Vogt).—Terzetto, “Giuro alla terra,” Signor Curioni, Signor Pellegrini, and Signor Zuchelli, (Guglielmi.)—To conclude with the Principal Scene of the Second Act of Weber’s celebrated Opera, called Der Freischutz, in German, as acted with unbounded success at the Theatres Royal of Vienna and Berlin. Agata, Madlle. Sontag; Annchen, Madame Schutz.

Part III.—Principal Scenes of the Lyric Opera, Die Schweizer Familie, by Weigel. The Characters by Mademoiselle Sontag, Madame Schutz, and Monsieur Schutz.—Leader, M. Spagnoletti; Conductor, M. Bochsa.—Books of the Opera (with English and German Words) to be had at the Opera Box Office; of M. Schutz, No. 103, Pall-mall; and at the Theatre. Boxes and Tickets to be had at the Opera Office. Pit, 10s. 6d.; Gallery, 5s. Doors to be opened at Seven o’Clock, and the Concert to commence at Eight.

The Times (June 25, 1828): 2.

KING’S THEATRE.—Maddle. SONTAG has the honour to announce to the Nobility, Subscribers to the Opera, and the Public, that she will give a DRAMATIC CONCERT at this Theatre, THIS EVENING. Part I.—Overture (by desire), from the Opera “The Oracle;” Pixis. Duetto, “Che bella vita;” Signor Torri and Signor Pellegrini; Generali. Concertino, Oboe, M. Vogt; Vogt. Terzetto, “Giuro alla terra,” Signor Curioni, Signor Pellegrini, and Signor Zuchelli; Guglielmi. To conclude with the principal Scene of the second act of Weber’s celebrated Opera, called DER FREISCHUTZ, in German, as acted with unbounded success at the Theatres Royal of Vienna and Berlin. Agata, Madlle. Sontag; Annchen, Madame Schutz. Part II.—Air Varie, Violin, M. De Beriot; De Beriot. Aria, Madame Morin; Mercadante. Fantasia, Grand Pianoforte, “Anticipations of Scotland,” M. Moscheles (with orchestral accompaniments; Moscheles. Part III.—Principal Scenes of the Lyric Opera, DIE SCHWEIZER FAMILIE, by Weigel. The principal characters by Mademoiselle Sontag, Madame Schutz, and Monsieur Schutz. Leader, M. Spagnoletti. Conductor, M. Bochsa. Books of the Opera (with English and German words) to be had at the Opera box-office; of M. Schutz, 103, Pall-mall; and at the theatre. Doors to be opened at 7 o’clock, and the concerts to commence at 8. Boxes and tickets to be had at the Opera-office. Pit, 10s. 6d.; Gal. 5s.

Reviews

The Globe and Traveller (June 26, 1828): 3.

KING’S THEATRE.—Mademoiselle Sontag gave last night a dramatic concert for her benefit at this house. It consisted of a variety of instrumental solo performances, intermixed with scenas from Freischutz, and from Weigl’s opera The Swiss Family. De Beriot, Moscheles, and Vogt, distinguished themselves on their respective instruments, and Mademoiselle Sontag’s Agata, as well as Madame Schutz’s Annchen, were, as on a late occasion, worthy of great admiration. Mr. Schutz had so arranged the principal scenes in Weigl’s Swiss Family as to give a general idea of the spirit and merits of that opera; and Mademoiselle Sontag having undertaken, together with M. and Madame Schutz, its most essential parts, the representation could not fail to be a highly successful one. The Swiss Family has long been one of the most popular operas in Germany, and it is a matter of some surprise that its adaptation to the English stage has not yet been thought of. The highly favourable impression it made last night on the audience ought to serve as a useful suggestion to the numerous dramatic arrangers and adapters of the day, not one of whom, except Mr. Elliston, has shown any symptom of knowing its existence. Mademoiselle Sontag’s concert was indifferently attended, although it promised to be, as it was, one of the most interesting performances of the kind witnessed this season.

Supplement to The Times (June 26, 1828): 3.

KING’S THEATRE.

Mademoiselle Sontag gave last night a dramatic concert for her benefit at this house. It consisted of a variety of instrumental solo performances, intermixed with scenas from Freischutz, and from Weigl’s opera The Swiss Family. De Beriot, Moschelles, and Vogt, distinguished themselves on their respective instruments, and Mademoiselle Sontag’s Agata, as well as Madame Schutz’s Annchen, were, as on a late occasion, worthy of great admiration. Mr. Schutz had so arranged the principal scenes in Weigl’s Swiss Family as to give a general idea of the spirit and merits of that opera; and Mademoiselle Sontag having undertaken, together with Mr§. and Madame Schutz, its most essential parts, the representation could not fail to be a highly successful one. The Swiss Family has long been one of the most popular operas in Germany, and it is a matter of some surprise that its adaptation to the English stage has not yet been thought of. The highly favourable impression it made last night on the audience ought to serve as a useful suggestion to the numerous dramatic arrangers and adapters of the day, not one of whom, except Mr. Elliston, has shown any symptom of knowing its existence. Mademoiselle Sontag’s concert was indifferently attended, although it promised to be, as it was, one of the most interesting performances of the kind witnessed this season.

The Standard (June 26, 1828): 1.

KING’S THEATRE.

Mademoiselle Sontag gave a dramatic concert at this theatre last night; but in consequence of the French play on Monday, the opera on Tuesday, and perhaps the engagement to patronize Zuchelli to-morrow, there were but few of the habitués present. The house was, in fact, thinly attended, but the happy few who had the courage to despise fatigue were richly rewarded,—for it has seldom been our fortune to have enjoyed a more delightful evening. After some duos and trios, in which Zuchelli and Curioni were all that the most enthusiastic lover of the harmony of sweet sounds could wish, and Torri and Pellegrini all that old and envious time would permit them to be, we had the principal scena of the act of Der Frieschutz executed by Schutz and Sontag in the most enchanting style, and so ended the first part of the concert. the second introduced us to De Beriot, an excellent violinist, possessing, with wonderful command over the instrument, taste, judgement, feeling, and expression, in an extraordinary degree. He performed an air, variated for the violin, which was equally worthy of admiration from the delight it ministered to the ear, and from the conviction upon the mind that the difficulties in the way of that effect were so great, that it was only by the most surprising volubility of finger they could be overcome. Moscheles next displayed his surprising execution in one of his own pieces; and then we had the principal scenes of the lyric opera called the Swiss Family, by Weigl, and in the original German. These scenes were arranged intelligibly, and in some sort made to enfold, as it were, the spirit of the opera. The music is delightfully appropriate, simple, and touching, and of that gentle style of beauty which is sure to prove more captivating upon a long acquaintance. The characters of Richard and Friburg were played by M. and Madame Schutz. Sontag was the charming representative of Emmeline. We certainly never saw her to more advantage; her fairy form and gentle beauty were admirably displayed in the graceful and picturesque and costume of the Swiss peasant girl, while the feelings of the artless and innocent maiden were pourtrayed [sic] with a degree of soul and truth that could not fail to excite the most lively feeling of admiration in all bosoms present, against which there was a heart to beat. Her singing too, was worthy of her soul-breathing acting. We have never heard, even from herself, any thing superior to a little air, during which Emmeline dances before father, to convince him she is not unhappy, while her eye is wet with tears, and her heart wrung with anguish. During the entire performance, the applause was frequent and enthusiastic; and after the fall of the curtain, Mademoiselle Sontag was loudly called for. She appeared with M. and Madame Schutz, and bowed her acknowledgements to the audience.

The Theatrical Observer (June 27, 1828): 1-2.

Mademoiselle Sontag gave a dramatic concert at the King’s Theatre on Wednesday evening, which, we regret to state, was but thinly attended. In addition to the unequalled performance of Messrs. De Beriot, Moscheles, and Vogt on the respective instruments, for which they are so celebrated, a duet and trio by Signors Zuchelli, Curioni, and Pellegrini. Mademoiselle Sontag, with the assistance of Madame Schutz, gave the scene from Der Freischutz, in German, which was so much admired at M. Pixis’s Concert. The principal attractions was, however, an adaptation of Weigel’s lyrics Opera, The Swiss Family; this Opera is exceedingly popular in Germany, and will be equally so here, for from its success last night there can be little doubt that it will be produced somewhere.

The music is of a character highly adapted to suit the taste of an English audience, and, we need scarcely say, that it was performed admirably. The story is simple and interesting;-A Swiss peasant girl exiles herself from her home and country to avoid the addresses of a man of rank, her affections being already devoted to a shepherd of her native village : the principal scenes occur on her return home; and her joy. at again seeing her lover and her country, were depicted by Mademoisellé Sontag with a truth and naivetè [sic] perfectly irresistible— we can much more readily enter into the enthusiasm created at Berlin by her charms and acting, since we have seen her perform in her native language; her speaking voice is extremely beautiful, and her acting entirely free from the slight constraint perceptible in her performance of Italian Opera. Mademoiselle Sontag herself feels this, and abandons herself, when playing in her native tongue, to all the enthusiasm for her art she so evidently feels;—nothing could exceed her grace and simple loveliness in this character of the Swiss peasant girl. Monsieur and Madame Schutz both sang and acted extremely well; and we hope soon to see this very delightful portion of the Opera of Die Schweizer Familie repeated.

The Observer (June 29, 1828): 2.

KING’S THEATRE

Mademoiselle Sontag gave, on Wednesday night, a Dramatic Concert, for her benefit at this house. It consisted of a variety of instrumental solo performances, intermixed with scenes from Freischutz, and from Weigl’s opera, The Swiss Family. De Beriot, Moschelles, and Vogt, distinguished themselves on their respective instruments, and Mademoiselle Sontag’s Aria, as well as Madame Schutz’s Annchen, were, as on a late occasion, worthy of great admiration. Mr. Schutz had so arranged the principal scenes in Weigl’s Swiss Family as to give a [*] idea of the spirit and merits of that opera; and Mademoiselle Sontag having undertaken, together with M. and Madlle Schutz, its most essential parts, the representation could [*] fail to be a highly successful one. The Swiss Family has long been one of the most popular opera in Germany, and it is a matter of some surprise that its adaptation to the English stage has not yet been thought of, Mademoiselle Sontag’s concert was, as it promised to be, one of the most interesting performances of the kind witnessed this season.