This concert was originally to have taken place on 26th March, Mercy’s Anzeiger 24/3/1857 reporting that ‘The singer Miss Elise Matthias from Paris performs on Thursday 26th March 1857 at 5pm in the Konvikt Hall a concert, in which Messrs Ritter von Adelburg, Graf and Reichel will participate.’ Mercy’s Anzeiger 26/3/1857 then reported that ‘The concert of Miss Matthias arranged for today has been postponed until 30th March.’ On 30/3/1857 this newspaper announced this event in detail in the section of daily news, reporting its date, time, venue, programme in projected performance order, and the participants. A brief review was then published by Mercy’s Anzeiger 1/4/1857 reporting that the concert was ‘weakly attended because it took place concurrently with so many other musical events. The lady revealed in her solo performances to be an artiste of song, demonstrating her very good training not only through her vocal technique but also in her tasteful and expressive performance; we would only wish that her voice had more intensity and power. The concert-giver sang the first aria from Ernani, then with Mr Reichel a duet from Traviata by Verdi, and then Venzano’s Waltz, and was also supported by Count von Adelburg performing one of his own violin compositions. Mr Reichel also sang Beethoven’s Adelaide.’

A review, signed ‘-l-’, of this concert by ‘Alžběta Mathiasová from Paris’ was published by Lumír 2/4/1857. The date and venue and participants were listed, after which the critic commented briefly upon the individual performances. ‘Miss Mathiasová has a weak but wide-ranging and graceful voice that showed itself to be lithe and well-trained in the aria from the opera “Hernani [Ernani]”. The concert-giver impressed still more with the piece “Valse Venzano”, in which her pretty ability best blossomed [v nížto své krásné vlohy co nejlepé rozvinula]. Count z Adelbergu performed the difficult Gypsy Variations, and on the request of the audience played his “Variace flageoloetové [Flageolet Variations]”. Mr Reichel sang the exquisite and perenially fresh song by Beethoven Adelaide, performing it with deep and unfeigned feeling. The success of the concert was fair; the attendance weak.’

The first note that Miss Matthias was about to give a concert in Prague appeared in the German-language Prague newspaper Tagesbote aus Böhmen on 27/3/1857. The report comprised a brief list of concerts and notable music productions taking place in the city during the oncoming week. Miss Matthias’s concert was to take place ‘on Monday’. Tagesbote aus Böhmen 29/3/1857 reported: ‘Programme to the Concert of Miss Elisabeth Matthias from Paris, which takes place on Monday 30th March in the Konvike Hall, will be: 1. Aria from „Hernani“ [Ernani] by Verdi, sung by the concert-giver. 2. Zigeuner-Variationen [Gypsy Variations] for the violin, composed and performed by Count von Adelburg (on request). 3. Duet from the opera „Voitures versées“ by Boildieu (Le clair de lune), performed by Mr Steinecke and the concert-giver. 4 Adelaide by Beethoven, sing by Mr Reichel. 5.a) Nocturno, b) Neapolitana, composed and performed by Count von Adelburg. 6. Duet from „Traviata“ by Verdi, sung by Mr Reichel and the concert-giver. Waltz Venzano, performed by the concert-giver. A review, signed ‘-h.’, of the event was published by Tagesbote aus Böhmen 31/3/1857. The correspondent reported that: ‘Yesterday Miss Elisabeth Matthias gave a solo soiree in the Konvikt Hall, to a small but very elegant audience. The large programme allowed us to become thoroughly acquainted not only with the singing technique of the young lady, secure, elegant in its effects and masterfully rounded-off in every way, but also with her talent for emotive cantilena and higher dramatic expression. Rarely have we heard a singer of Elvira’s entry aria from Ernani who has so happily reconciled such a diverse, and yet also such a challengingly broad, brisk expression and brilliant coloratura, as Miss Matthias yesterday. She also sang the Allegro in the original version (which most singers avoid, not because it is less good but because it is more difficult than the “Lombardi” aria that is usually substituted), not only possessing both fire and polished training in equal measure, but even extending it further with stylish embellisments. In the Waltz of Venzano she handled the difficult passages with equal ease and in the delicate nuances of light and shadow demonstrated the unsurpassed elegance of the French school with utter charm. The unusually rounded, lengthy trills that have been so vaunted of late also found a brilliant showcase in the Waltz; all in all it was a truly exemplary handling of breathing[,] one of the outstanding details in the superb training of this young lady. In a duet from Verdi’s La traviata Miss Matthias accentuated the prettiest, most insinuating cantilena with both a simplicity and an ingenuity that, with the same shimmering ease that she brings to merely bravura pieces, here had twice the delightful impact. Her lithesome voice, flying over the highest chords up to the third octave also demonstrated, in the candenzas of the duet, a beautiful fullness in the low register. This composition of Verdi is one of the maestro’s better offerings; the Allegro has fire, the cadenzas are robustly painted but with thrilling contrast effects, and in particular in the A-flat cantilena of the Andante those who are familiar with the duet will not mistake the character and morbid fervour in the musical depiction of the consumptive Lorette. Mr Reichel supported the soloist in the duet with power and a very stylish performance full of effect, as well as singing Beethoven’s Adelaide beautifully. Mr von Adelburg made an appearance to lively applause in the course of this most interesting concert. On this occasion he rounded out the recent, decidedly successful impression of his virtuosity very favourably by adding, alongside his difficult Gypsy Variations, a further Nocturne of his own composition, in which he showed himself wholly capable both of the highest degree of technique and of a calm, richly-toned execution. To finish the virtuoso performed a Scherzo-mazurka well suited to his pure and exceptionally secure flageolet playing. The piquant variations duet on the French chansonette Au clair de la lune that had been planned was omitted owing to the indisposition of Mr Steinecke. All pieces in the concert were received with the most animated applause...’