• Žofín Academy: participating institution, vv, orch
• Estates Theatre orchestra: participating orchestra, orch

News of this event was published by the Prague German-language newspaper Tagesbote aus Böhmen 9/5/1857, noting: ‘The Žofín Academy arranges with the pleasing participation of the Theatre Orchestra [German Estates Theatre] on Thursday 14th May this year at 4pm a great concert in the Hall of the Žofín Island for the nameday of Her Serene Highness the Archduchess Sophie, at which will be performed the beautiful work of Robert Schumann „das Paradies und die Peri“ from the poem of Lalla-Rookh by Thomas Moore in three parts. The rehearsals are scheduled to take place on the Žofín Island on Monday and Wednesday at 4pm.’ Further news appeared in Tagesbote aus Böhmen 13/5/1857 announcing the soloists as ‘Misses Chalaupka, Günther [Güntherová] and Nejedly [Nejedlá], and the gentlemen Eminger [Emminger] and Strakaty [Strakatý].’

A substantial review, signed ‘-h.’, of this event appeared in Tagesbote aus Böhmen 16/5/1857. The correspondent reported: ‘The Žofín Academy chose for the preliminary celebration of the Nameday of its high patroness, Her Royal Highness Archduchess Sofie, Schumann’s secular Oratorio „das Paradies und die Peri“. The choice was worthy, even to an extent a courageous act of artistic piety to the genius of the unfortunate tone-poet, for everywhere this work has been received coolly yet respectfully, even at its first performance in Prague; so let us hope that this time a greater success will reward the immense efforts of the worthy and conscientious preparations. Schumann’s „das Paradies und die Peri“ is a beautiful, highly interesting corpse for the dissecting table [eine schöne, höchst interessante Leiche für den Sezirtísch], but not a living, warm-blooded phenomenon for the world of art. Only for the pleasure of the expert, but not revealed to the unpredjudiced art lover, speak the many beauties of Schumann’s work, his poetic depth in the most beautiful moods, not overwhelmed by the awkward and tasteless German translation of the poet Thomas Moore, the intimacy of his illustrations of the twists and turns of the poem, to the poignancy and individuality of the combinations of sound. The latter predominate over the deathly mildew of monotony over the whole, and especially in particular moments, for example in the tone-picture of the plague-afflicted land, when muffled voices capture masterfully the mood of dull, sweltering humidity, creepy and incessant, even though the other voices are exaggerated. In addition to this, it becomes apparent that Schumann shares with Beethoven the peculiarity of not quite understanding the treatement of human voices. The parts of the „Peri“ and of the „Jungfrau“ have great melodic richness, those of the Tenor and the Baritone have great dramatic nobility and characteristic themes; but the composer either overwhelms his melodies with an orchestral mass, like stone boulders over flowers, or suppresses voices, especially the two male voices in impossible situations (thus the Tenor is restricted, being confined to the bass register in the description of the Robber), and so this works against even the best of his effects. One peculiarity, which to our knowledge has never before been mentioned in an analysis of the work in Prague or anywhere else, may be mentioned here, because it stands as purely incomprehensible in a true poetic nature such as Schumann’s. The composition is put together [phrasirt] by no means according to the content of the sentences of the poem, but as a continuous declamation, so that the beginnings of new sentences appear drawn from the previous ones and are separated in context by orchestral interludes. We would prefer a work of eveness, yet with a landscape rich in charming details, not stunted by a sultry, brooding feel with flashes of genius or tastefulness lightening the oppressive mood. It is to the honour of our musical audience, in recent years so excited by Wagner, so refined in its conception of art, that is remained moved throughout the freshest moments of the whole and that it made known its approval for the beautiful lament for the dead lovers at the end of the second part, for the two quartets and for the lovely chorus of Houris. The performance was a dignified, careful one; immaculate, if we were to take into consideration the harmonic and rhythmic difficulties presented by the work, prohibitive in time and cost to any private society. Above all, Miss Chaloupka is to be thanked for her musically able and breathtakingly beautiful performance in the role of the Peri. Her intonation in the immensely difficult, harmonically conflicting and unsupported by instrumental accompaniment „Wo sind ich sie?“ – „Für euren ersten Fall“, and at the entry of the great aria „Verstossen“ was as clean and safe as the beautiful singing of the first and close of the second was delicate and expressive in presentation, through her power and solid technique she elevated herself above the ensemble in the Allegro of the Aria and in the Triumphal Finale. Miss Günther sang the alto part very nicely, Miss Nejedly [Nejedlá] sang the „Jungfrau“ with a very pleasant, if self-conscious, voice.  Mr Eminger suffered hoarseness contending with the obviously abnormal tessitura of the parts, but as usual demonstrated dignity and solidity in his performance; Mr Strakaty [Strakatý] sang with deep feeling. Very pretty, fresh voices emerged from the chorus of girls [Aus dem Mädchenchore]. The orchestra was for the most part precise in its difficult role; the conducting by Mr Kolleschowsky [Kolešovský] was restrained and circumspect.’