• PONTA, Therese: soloist, v, zither
• PONTA, Jenny: soloist, pf

Mercy’s Anzeiger 27/2/1857 reported that ‘Miss Therese Ponta has resolved to arrange a farewell concert in the Konvikt Hall before her departure from Prague, namely on 7th March at 5pm. 25 percent of the profits will be given by the artiste to the city’s poor.’ This same information, together with the explanation that Miss Ponta, ‘Countess La Rosée’, could not continue appearing on the Prague stage [presumably in the Estates Theatre], was published in a notice appearing in the advertisements section of this issue of the newspaper.

News appeared in Mercy’s Anzeiger 28/2/1857 that the concert announced in the newspaper the previous day would also feature the sister of Therese Ponta, Jenny.

Advance details of the programme to this concert were published in full by Tagesbote aus Böhmen 6/3/1857. The newspaper related: ‘Tomorrow 7th March in the Konvikt Hall at 5 o’clock, a Farewell Concert by the sisters Ponta from Munich will offer for performance: Grand Fantasie: La Straniera by Thalberg, performed on the piano by Miss Jenny Ponta. Aria from the opera: „Fidelio“ by Beethoven, performed by Miss Therese Ponta. Potpourri for the cither with piano accompaniment arranged by J. Petzmayer, performed by Miss Therese Ponta. Die kleine Versetzerin [declamation] by Isidor Protsch, performed by Miss Allram-Lechner. Concert-Piéce: Le regret et pière by Leonhard for violin, performed by Miss Gabriele Hoffnann von Wendheim. a) La Sicilienne Tarantella by Ch. Mayer, b) Deux ames, Melodie by J. Schad, for piano performed by Miss Jenny Ponta. Duetto del’ Opera: „I Vesprè Siciliani“ by Verdi, performed by Miss Therese Ponta and Mr Fektér. a) Schlummerlied from the opera „Stumme von Portici“, arranged by J. Petzmayer. b) Ball-bouquette, Waltz by J. Petzmayer, performed on the cither with piano accompaniment by Miss Therese Ponta.’

A review, signed ‘-h.’, of the concert was published by Tagesbote aus Böhmen 8/3/1857. The source related: ‘Music. The Ponta sisters yesterday gave a very well-attended farewell concert in the Konvikt Hall. Our previously established [from their last concert] judgement of their performance on the pianoforte, the zither, and of the singing of these two art-loving dillentanti, saves us from the ungallanterie of now giving only a very moderate account of yesterday’s concert. The zither performances of Miss Therese were as always the best parts, the piano pieces of Miss Jenny the weakest parts, of their offerings.’ Particular criticism was levelled at their performances of the two opera arias. The best part of the occasion was felt to have been the violin playing of Miss Gabriela von Hoffman. This ‘young artist has a very nice purity and skill in art that surpasses their [the Ponta’s] sound by far.’

Mercy’s Anzeiger 10/3/1857 published an unsigned review reporting that ‘The farewell concert of the sisters Ponta, which took place on the 7th of this month, was quite well attended. It was therefore possible for the two concert givers, who donated a quarter of the net profits to the poor, to pleasingly fulfil their humanitarian [charitable] intentions. Concerning their performances, it was only the zither playing of Miss Therese Ponta that raised itself above the level of the ordinary, and it was rewarded with great applause. We have already sufficiently acknowledged... [Miss Therese], yet on this occasion we must also comment upon the singing of the young lady: her abilities do not suffice for the concert hall in any respect, even for judgement by a complaisant audience. They suffice even less if pieces like Beethoven’s aria of Leonore are chosen, which demands a most accomplished performance, and can scarcely be imagined without orchestral accompaniment. Nevertheless, Miss Ponta can be regarded as an estimable dilettante. Miss Jenny Ponta would have more difficulty in claiming the same regard for her piano playing, as she does not even know how to use the pedal properly. We in Prague, where there are so many excellent pianists who have never courted the public, must adopt such a rigorous [critical] view towards her. Miss Wendheim gained the greatest success through her very brilliant performance of a Fantasie upon „Sonnambula“ by Leonhart [Leonard] for the violin. This performance and Mrs Lechner-Allram’s declamation of the „kleine Versetzerin“ by Proschko were additional pieces in the concert, in which Mr Fektér also participated with a duet from Verdi’s ‘sizilianischer Vesper [Les Vêpres Siciliennes]’. He received applause for his Italianate performance style.’ The Fantasie from Sonnabula may well have replaced Le regret et pière on the programme., although possibly both works were performed by Miss von Wendheim.

The database listing of the programme is reproduced according to the Tagesbote aus Böhmen 6/3/1857 report, with the addition of the Fantasie on Sonnambula inserted after the piece by Lèonard.