Elisabeth, Elsa, Sieglinde and Selika (in L'Africaine), and was Vienna's first Eva in Die Meistersinger.
Hermann Winkelmann ( 1849-1912) came to Vienna from Hamburg in 1883, following his
great success as the first Parsifal in Bayreuth, and was to remain until 1906 as the Heldentenor of his generation. He was Vienna's first Otello.
Theodor Reichmann ( 1849-1903), born in Rostock and educated in Berlin, was one of the
great German baritones of his generation, an internationally renowned Wotan, Sachs, Dutchman and Telramund. He created the role of Amfortas in Parsifal. He was a member of
the Court Opera from 1882 to 1889, and rejoined the company in 1893 after touring England
and America. He was admired for the beauty not only of his voice, but also of his person and
Emil Scaria ( 1838-1886) studied with Manuel Garcia in London, joining the Court Opera in 1872, and quickly establishing himself as one of the great basses of vocal history. Of his
Gurnemanz at the Bayreuth premiere of Parsifal. Lilli Lehmann wrote in Mein Weg: "Scaria
as Gurnemanz will remain unforgettable for all those who had the good fortune to see him
and hear him."
Antonia ("Tony") Schläger ( 1860- ? ), a Viennese dramatic soprano who. like Regine
Klein, had graduated to opera from operetta.
Christian Dietrich Grabbe ( 1801-1836). German writer of historical dramas whose style and
structure seem, in retrospect, to anticipate expressionism and film techniques of a century
later. A contentious character, his early death was attributed to a combination of alcoholism
and tuberculosis. The reference here is to his one comedy. Scherz, Satire, Ironie und tiefere
Bedeutung ( Jest, Satire, Irony and Deeper Significance)
Wilhelm Jahn ( 1835-1900) succeeded Franz Jauner as director of the Court Opera in 1881.
and sustained that position until 1897, longer than any other director in the houses's history.
3. La Muette de Portici
February 2, 1884
We are most grateful to the management, ever on the alert for novelties,
antiquities and other attempts at resurrection, for having brought us this time
a work well worth a new mounting, not only because of the presumed
centenary of Auber's birth, but also and primarily because of the exceptional
affection and popularity this inspired work always enjoyed with the public.
As with all popular works, however, so it went with La Muette de Portici.
Its fate was to be played into the ground until rendered so mute by ever more
crushing routine that it could bring forth only a few pitiable groans as an
occasional stop gap in the repertoire. These, too, gradually diminished, and it
seemed likely that there would soon be no breath at all. There it lay, dusty,
unappreciated, forgotten — in the disreputable company of God knows what
infamous composers — in the archives of the opera house. From there not a