• Provisional Theatre orchestra: participating orchestra
• PAGOŠEV, Mikhail: singer, vl

Národní listy 1/3/1863 announced in its daily Theatre Bill: ‘(Subscriptions suspended.) Concert Pagošev. After that: Exhibition of vivid pictures [Výstava průzračných obrazů].’ On the following day, the day of the event, the newspaper’s Theatre Bill noted: ‘Royal Estates Provisional Theatre in Prague. Today Monday 2nd March 1863. (Subscriptions suspended.) Concert. After that Exhibition of vivid pictures. Originally belonging to the Society of Berlin Artists, now privately owned. Commencing at 7[pm]. Ending at 10 o’clock.’

An almanac published by Bohemia 1/3/1863 of repertoire in the Prague Theatres during the following 2 weeks related: ‘In the Provisional Theatre: Monday 2nd March. Concert of Pagošev, Cloud pictures [Nebelbilder]’. From the seemingly disparate terms used by the Czech and German sources Národní listy, Prager Morgenpost and Bohemia to title this event, the nature of the exhibition and the type of paintings on display seems difficult to ascertain. The Czech-language description of ‘průzračný’ means ‘vivid / bright / clear / perspicuous’ whereas the German adjective ‘Nebel’ refers to fog, mist or cloud. However, Lumír 26/2/1863 published an interesting account of the event: ‘Exhibition of vivid paintings [Výstava průzračných obrazů]. On 21st and 23rd February was in the place of the Provisional Theatre an exhibition of copies of pictures from old and from modern masters. Namely were exhibited Rafael Sanzio, Correggio, Michal Angelo, Titian, Führich, Knorr, Overbek, Rubens and Fra-Bartolomeo.’ The copies were described as being quite successful. Apparently, they were apparently mainly on biblical subjects, with the greatest interest arousing the pictures [reproducing] Rafael, Correggio and an ‘imposing composition of Michal Angelo „Mojžíš přichází s hory Sinai“ [Moses arrives at Mount Sinai]. The exhibition was poorly attended, with the correspondent expressing hope that the next exhibition would gain a more numerous audience. It seems reasonable to assume that this exhibition as described by Lumír continued in the Provisional Theatre and was that described as taking place at the time of the concert on 2nd March.

Theatre Bill published by Prager Morgenpost 2/3/1863 announced in Czech: ‘Royal Estates Provisional Theatre in Prague. On Monday 2nd March 1863. (Subscriptions suspended.) Concert. After that: Exhibition of vivid pictures [Výstava průzračných obrazů]. Commencing at 7 o’clock. Ending 10 o’clock.’ No further details were given by the text. The publishing of the text in the Czech language provided an indication  of how even among the German-speaking Prague community the Czech Provisional Theatre was regarded as a specifically Czech-focussed institution.

A review of this concert by Pagošev was published by Lumír 5/3/1863. The correspondent reported: ‘On 2nd March preceding the exhibition of paintings was a concert in which took part the gallant [statečný] violinist Pagošev. He played the first movement of a Concerto for violin by David with accompanying orchestra, „Romance“ by Beethoven and a Fantasie on Czech folksongs. His playing is refined, his flageolet pretty; he has a fairly great technique and elegance in playing, although his performance lacked fire, which most likely stemmed from those feelings an artist experiences when playing before an almost empty venue. The concert commences with Vojáček’s Ouverture – or better said, potpourri, on folksongs. In place of the ill Mr Vecko Messrs Švarc and Polák sang a duet by Pech. Miss Macháčková sang without any inspiration two songs, „Otčina“ by Zvonař and „Pomilování“ by Jelen. Directing the orchestra was Mr Řebíček, from who we would have wished confidence and calm in beating time. The soloist was called following each number.’  

An unsigned review of this event was published by the Czech music periodical Dalibor 10/3/1863. The correspondent reported: ‘Violinist Mr Pagošev for Petrograd appeared on 2nd March in the Provisional Theatre and testified to being a salon [i.e. concert hall] player [osvědčidl se co salonní hráč]. He performed the Concerto by David, Romance by Beethoven and Fantasie on Czech folksongs with remarkable technique and was especially successful in the performance of the song „Horo, horo, vysoká jsi“ [Mountain, mountain, you are high] in flageolet, which he rendered entirely in thirds. However, altogether lacking was profundity of spirit, and it may be presumed that this regard the young virtuoso wants for more education. As interpolations Miss Macháčková sang Zvonař’s „Otčina“ and „Pomilování“ by Jelen, and Messrs Polák and Švarc a duet by Pech. In Vojáček’s Overture, which prefaced the concert, our young leader of the orchestra Mr Řebíček directed as if embarking upon some gargantuan work, whereas the composition is cast only in polka and march rhythms.’ This was considered by the critic to indicate pretentiousness on the part of the conductor. Finally, the review noted that the ‘Theatre was almost empty.’

The order in which the works were performed cannot be identified from the Dalibor review barring the opening Overture and the encore piece given by Pagošev.