• Estates Theatre orchestra: participating orchestra, orch
• NESVADBA, Josef: director of ensemble, conductor

The Italian Ferni sisters gave four concerts in Prague between 10th February and 16th February 1859. According to news published by Dalibor 10/2/1859 ‘Today appear in the Estates Theatre the well known violinists Misses Ferni, who were greatly liked in Vienna.’

Bohemia 10/2/1859 issued the complete programme to the first concert given by the Fernis within the regular published theatre bill. Prager Morgenpost 10/2/1859 published a similar notice describing the programme. Theatre subscriptions were noted to be suspended for the event.

Almost all reviews of the the Ferni’s first appearance were unqualified in their praise, only the Czech music periodical Dalibor bemoaning the content of the programmes and considering that the sisters were not quite of the level of some Czech female violinists. The German-language newspaper Prager Morgenpost published an enthusiastic text, signed ‘YY.’, of the first Ferni concert in the issue dated 11/2/1859. The Prager Morgenpost critic commented that various newspapers had all to a greater or lesser degree admired the two sister artists for their performances and techinique. Their playing was characterized  above all by ‘pristine intonation, a graceful, noble, not great but lyrical tone... which exerted a profound effect on the auditorium.’ Of the works they gave the one best appreciated was the ‘generally well-known, favourite Carneval von Venedig [Carnival di Venise], which performed with amazing skill and stamina veritably enchanted the listeners.’ Of the vocal works Miss Mik was noted to have sung an aria from Donizetti’s Dom Sébastian with great sentiment. Equally successful was the contribution of Miss Tipka who performed an aria from the opera “Beatrice di Rena” and the well-known “ungarishe Lied [Hungarian Song].” The concert was adjuded to have been very successful for the celebrated artists, and was noted to have been preceded by a performance of Friedrich’s [farce] “Doctor Robin”, ‘given by an appropriate cast.’

Bohemia 11/2/1859 published a particularly effulgent review, signed  ‘V.’ This began by noting that virtuosi on all instruments were now so common that when ‘a new phenomenon in the virtuoso heavens’ did actually capture the attention this was of exceptional interest. The Ferni sisters, ‘in the charm of their graceful beauty ... [their] journalistic and widespread reputation ... [and their] beautiful artistic gifts of admirable technique and achievement in their art.’ The critic enthused that their tone and bowing excelled not primarily through greatness and fullness of sound  but rather through a ‘beautiful and expressive softness, which is greatly attractive.’ They were commended for ‘purity of intonation, lyricism, the clarity and accuracy of passagework, the refinement of their nuancing with a truly artistic effect.’  Their performances were decidely accompished in virtuosity but were never forced. Reluctant on the evidence of only one concert to pinpoint any differences between the playing of the two, the critic felt that Carolina possessed a ‘more pithy tone while Virginia’s was distinguished by a ‘singularly soulful cantilena.’ The first caused astonishment through her beautiful bowing of the G string, the second through ‘feminine, full-voiced cantilena’ in the high register. In the duos their ensemble was accomplished in technique, in bowing and unanimity. This was conspicuous in the work by Alard, a composition ‘that also contains interesting moments’; the final ‘Carneval [Carnival di Venise] ... was so successful that they were curtain-called four or five times.’ Finally the review listed the appearances of the two singers and noted that the concert commenced with the ‘great Concert-Overture’ by Neswadba [Nesvadba]. The venue was ‘well-attended.’

The unsigned review published by Dalibor 20/2/1859, which covered all four appearances, generally praised the quality of the performances of the two sisters, although the critic subscribed to the opinion that their legendary fame as performers was ‘much greater’ than the reality of their playing. In comparison with other renowned female violin virtuosi, of which the report cited as examples the Czechs Miss B. Brousilová and the Nerudová sisters, the Fernis were thought to be slightly wanting in strength of violin tone. Of the two sisters, Dalibor noted that Karolina [Carolina] drew the more characteristic sound from her instrument, while the performances of Virginie [Virginia] were considered to be more expressive and sympathetic. Over their four appearances further description by the Dalibor critic only touched upon Karolina Ferni’s rendition of Mendelssohn’s E minor Violin Concerto in the third concert. However, the review concluded with the observation that the sisters ranked among ‘the best virtuosi on their instrument.’ The text expressed dissatisfaction with their choice of works throughout this series of performances, lamenting that only the third concert contained a ‘classical’ item, that being Mendelssohn’s E minor Concerto.