• ensemble of the Infantry Regiment of Count Nugent: participating ensemble

Prager Morgenpost 4/2/1/860 published detailed news of arrangements for the forthcoming masked ball to be taking place in the New Town Theatre. Details included descriptions of the decoration of the venue, preparations for catering, and of the participation of the musical ensemble of the Royal Infantry Regiment of Count Nugent. On 4/2/1860 and on 5/2/1860 the newspaper carried an advertisement announcing: ‘Tomorrow [Today] Sunday 5th February 1860. First masked Ball in the New Town Theatre. Commencing 8pm. - Ending 5am. All boxes are already reserved. Admission to the Hall 1 silver Austrian fl., 1 ticket to watch 30kr. Tickets are to be obtained from the Royal Bohemian Estates Theatre box office and evenings in the New Town Theatre.’

A detailed unsigned review of the occasion was published by Prager Zeitung 7/2/1860. This reported that: ‘Prague now has in the New Town Theatre [Neustädter Theatre] a capacious venue that is also eminently suitable for winter use, since a colossal heating system [Heizapparat] was erected nearby, which supplies heat to all parts of the building through underground pipes. Yesterday the premises were opened for public enjoyment for the first time - for a masked ball that was highly successful and that will spawn two offspring in this Carnival. While perhaps the fancy-dress balls of ten or twenty years ago may have surpassed yesterday’s in their liveliness, it is certain that the latter was unrivalled for comfort and for its stylish elegance. The stage and parquet were converted into a grand hall in a way such that the parquet was boarded over with a new floor intended solely for dancing, set at the height of the podium. The stage space was on this occasion not yet set up for dancing, but this should be carried out in time for the next ball, so that the orchestra, which in previous balls was arranged in the centre, will be situated on an improvised gallery above its present position. The trapezoidal frame that enclosed this space and that separated the parquet area from that of the stage, will be removed and the two spaces joined to create a hall, the size of which has never been seen before in Prague. The stage was converted into a lounge festooned with magnificent opalescent hangings, whose opulently decorated ceiling was borne by ornate white pillars striped with gold and in whose background a real fountain refreshed the shrubbery of living plants. The main colours of the decoration matched those of the auditorium, namely white and sky blue; the windows of the first and second galleries were masked with white and blue material and hung with giant mirrors. These galleries were used as dining areas, so that diners also had the pleasure of being able to watch the throng swaying about below. The lighting, which was as bright as day, comprised an ocean of gas flames that issued from the three chandeliers of the stage area, two manifold candelabras in the orchestra and finally from the bouquets and candlesticks of the parapets of the galleries. The apartments right of the stage were used as dressing rooms for ladies, those on the left on the first and second floor for men, while the left-hand boxes on the parterre were used as the cloakroom. The theatre building was linked to the restaurant, the only place in which smoking was permitted, by a well-made covered passage of wood. The public came in large numbers and did not leave until very late, in the early hours of morning; even the occupants of the boxes were present until well after midnight. Of the costumes, of which some 200 were counted, more were seen of ethnographic types than character costumes, and even a few representatives of the animal kingdom were noted. Yet it would have done no harm if the disguises had been less reticent and bashful; only a few of them stood out by showing more animation. The programme of dances, executed by the military band of the Imperial Rank Infantry Regiment Nugent under the direction of Kapellmeister Hopf, distinguished itself commendably by containing four waltzes and thus fewer gallops.’