Advance news of this event was published in Prager Morgenpost and Bohemia 16/12/1858, both of which reported that the second concert to be given by the Cecilia Society [Cäcilien-Vereins] would take place on Sunday at 12 noon in the Sophieninselsaale [Žofín Island Hall]. The programme would comprise Sophocles’ Oedipus in Kolonos with music by Felix Mendelssohn-Bartholdy, prefaced by Karl Reinecke’s Overture for large orchestra to Franz Reber’s [given as ‘Röber’ by Bohemia] tragedy Sophonisbe. The Overture was apparently being performed from manuscript ‘for the first time’. Reciting Sophocles’ play as well as performing interval declamations were Mrs Frey [Freyová], Mrs Allram-Lechner [Lechnerová], and Mr Fischer. The renowned Czech singer Karel Strakatý had also kindly agreed to participate in the event.

An advertisement for this event was published in Bohemia 19/12/1858, noting the date, time and venue, and that tickets were available from the Cecilia Society member Mr Fischer. Of the concert programme, only the performance of Oedipus with music by Mendelssohn was noted. A note of the concert specifying the time and the venue appeared in the Tageskalender of Bohemia 19/12/1858.

Over half of the substantial Bohemia 21/12/1858 review text, signed ‘V.’, was devoted to a general description of Mendelssohn’s instrumental music to Sophocles’ play. The critic emphasized how remarkable was the ability of the composer through his education and creative originalty to successfully confront the problem, unique in music literature, of setting such antique tragedy. In this he was perceived to have succeeded to a level at least the equal of his earlier setting of Sophocles’ Antigone, combining modern musical techniques with the qualities and demands of the characteristic text. In particular Mendelssohn’s approach to rhythm and word setting was noted, his ensuring that declamation remained faithful to the metre of the text and that he maintained the specific periods of the verse. Attention was drawn to his modernist use of bright orchestral colour instrumental combinations to point melody and harmony. The remainder of the review concerned the reception and success of the performance itself. Apparently not performed [in Prague?] since 1852, the ‘highly interesting work’ was for many in the audience a novelty and so exercised a compelling effect. Received with especial acclaim by the audience was the account of the Eumenides and the ‘brilliant and effective’ fifth number in C minor. The fourth chorus with its ‘magnificent’ strophe „Nie geboren zu sein, ist der Münsche größter“, and ‘even the peculiarly foreboding solo quartet gained the approval of the acutely excited auditorium. A great part of this achievement was the almost continuous perfection and verve of the performance. The orchestra acquited itself of its challenge with complete success ... the large chorus in respect of correct declamation, the utmost accuracy and artistic nuance was marked by excellence.’ Contributing considerably to the success of the event were the speakers Fischer, as Oedipus, Theseus and the Narrator, Frey [Freyová] as Antigone, and Lechner [Lechnerová] as Jomene. ‘Also the excellent singer of the bass solo Mr Strakatý must be mentioned.’ Finally, the Bohemia review noted the performance opening the concert of Reinecke’s Overture. This composition, the critic felt, was totally at variance with the scene and character of the plot of the play it was conceived to represent, but the reviewer conceded the unfeasability of such a musical setting to portray the subject. Opinions among the audience were said to have been divided as to the intrinsic value of the overture. The Bohemia critic ventured only that ‘the score betrays a firm, safe hand.’

The Dalibor 23/12/1858 review, signed ‘-e-.’, enthused about both works performed at this event, and especially about Mendelssohn’s ‘very interesting’ incidental music. Of this, the Dalibor critic commented ‘Who could not be interested in this composition’s masterly portrayal of the grove of the Eumenides? Who was not moved by the chorus with the strophe „Nie geboren zu sein?“ And who was not delighted by the peacefulness in the second chorus, which describes the natural beauty of Athens? Yes, these choruses are so masterly, so unblemished and so beautiful, that they could not have [... produced] a greater effect. The performance of the works under the leadership of the circumspect director Apt was excellent and spirited.’ The audience was described as ‘numerous’. The review also noted that Mendelssohn’s work had last been performed in Prague in 1852.

The unsigned Lumír 23/12/1858 review was similarly positive, containing only slightly negative comment about the Cecilia Society not giving its concerts in Czech. ‘The Cecilian society, which is certainly the busiest and most active of all local [societies], and about which it could not be wished that it had a greater regard for the native tongue, performed... Mendelssohn’s work Edipa na Kolonu... with customary assiduity and great precision. Director Apt again gained for himself with this performance a new leaf in the rich garland of his service to the musical affairs of our Prague.’ The declamations in Oedipus were noted to have been performed by Fischer, Mrs Freyová as Antigone, and Mrs Lechnerová as Jomene. Karel Strakatý was not mentioned in this text.