• Society of Musical Artists: organizing institution
• Žofín Academy: participating institution, vv
• Teaching candidates of the 'National-school' in Budeč: participating institution, vv

Advance information about this event was published by Prager Zeitung 15/12/1850 and Bohemia 15/12/1850. The latter reported that this year, as usual, the local Society of Musical Artists [Tonkünstlergesellschaft] would perform a great oratorio in the Theatre. This would take place on Monday 23rd December in [Estates] Theatre, and would be of Mendelssohn’s Paulus. The solo parts would be taken by Mrs von Stradiot-Mende, Miss Wawra [Vávrová], and Messrs Emminger, Brava and Versing. Participating too would be the gentlemen and ladies of the Žofín Academy and the gentlemen teaching-candidates of the Budeč School. The text ended by noting that the public, as in previous years, would also be actively involved. This presumably implied the presence of amateur singers and players, as was conventional for these particular annual Prague concerts. The Prager Zeitung text related similar information, specifying in addition that the participants would be 300 in total.

Details of the event were contained in the Tagesanzeiger text of Bohemia 22/12/1850 which noted that on the evening of Monday 23rd December in the Theatre would be ‘Oratorio “Paulus.” For the benefit of the Widows and Orphans Institute of the Prague Society of Musical Artists.’

A review, signed ‘V.’, was published by Bohemia 29/12/1850. This opened with the critic recalling the very first performance of Mendelssohn’s ‘masterpiece’ to be given in Prague, which had taken place in the Waldstein Hall. That event was remembered by local music-friends ‘with blissful delight  ... a so sublime production’. Like a ‘battle-hardened Field Marshall Mr Franz Škraup [František Škroup]’ had directed a well-rehearsed and great performance of constantly high artistry. The ‘unforgetable Podhorsky [Podhorska] and Miss Schwarz took the solo parts of soprano and alto; the imposing orchestra was precocious throughout, where it was necessary powerful and full, but also finely nuanced; with equal precision, surety and flawlessness acquitted itself the entire vocal corps.’ Almost all of the excellent numbers of the work were encored, and a early repetition of the whole piece was thought necessary. The ensuing December 1850 performance by the Society of Musical Artists of ‘this most brilliant jewel of modern music’ was considered to be poor by comparison. Bohemia’s critic drew attention to ‘an altogether unfavourable dynamic relationship in the vocal parts between each other - in particular it seemed that the altos and tenors were qualitatively and quantatively weak’. A ‘fearful insecurity’ was evident in the frequent false entries of vocal and instrumental parts, all of which contributed to the ‘expected pleasure’ arising from the performance of the work being disappointed. The critic conceded that he knew in art as well as in life ‘happy and unhappy days happen’, and that no blame could be attributed to the director Mr Škroup. The Society of Musical Artists were noted to give two concerts each year and in these there participated ‘extraordinary members [i.e. dilettante performers] within both choir and orchestra. These required practise, and the poor quality of this occasion was thought to derive from lack of rehearsal. Of the soloists, Mrs Stradiot-Mende showed herself to be ‘an educated and proficient artiste, but the timbre of her mezzosoprano was not suited at certain points to the intentions [for soprano] of the composer, as was the wonderful organ of Podhorsky [Podhorska]’. Mr Versing, noted to have been the first Paulus under the direction of Mendelssohn at Düsseldorf, ‘naturally aroused great interest’. His singing was characterized by his ‘beautiful voice and his earnest style and noble performance ... Mr Emminger proved himself again as an oratorio singer par excellence and not only reaped well-earned applause in all parts, but also as the first time [i.e. the first performance of Paulus in Prague] had the honour of having to repeat the beautiful Cavatina with obbligato violoncello.’ Mr Brava sang the parts of both the Witness and of Barnabas. Finally, the correspondent described his pleasure at noticing the presence of the famous bass Strakatý within the choir.