• Orchestra of the Prague Civil Sharpshooters Corps: participating ensemble
• Estates Theatre chorus: participating institution, vv
• NESVADBA, Josef: director of ensemble

The funeral of the Austrian-born actor Franz Feistmantl (1786-1857), who spent the majority of his life on the Prague stage, took place on 30/10/1857 and was a major civil event attracting many spectators among the local populace. Tagesbote aus Böhmen 31/10/1857 published an extended account of the event. Noting that an honest man who lived his life to the full in performing his official duties always earnt the appreciation of his fellow citizens, and so the public never forgets to escort the coffin of such a man to his grave. ‘Striking proof of this we had yesterday at the funeral of the widely beloved Franz Feistmantel. Long before the procession set out from Kettengasse, all spaces were filled, as we find on only the rarest of occasions. Wherever the carriage passed, there was a tightly packed crowd that amounted to thousands at all the various points; all the windows were occupied, and not merely out of curiosity. The coffin, adorned with a laurel wreath, was raised into the funeral carriage from the home of the deceased. Leading was the musical ensemble of the Civil Sharpshooters. The carriage was surrounded by torch-carrying members of the Estates Theatre stage, with the four tassels of the black pall held by Messrs Chauer and Dolt, and the two directors Wolf and Rosenschön. The coffin was followed by relatives of the deceased, and by all the members of the Estates Theatre. Following, men carried torches, while the ladies, attired in black, carried garlands and bouquets, the final offerings to the great actor... The procession made its way out of Kettengasse over the Old Town Square, Eisengasse, to the Theatre, the scene of the triumph of Festmantel, crossed over the moat, the neue Allee and the chain bridge to the Augezder Gates, where it was again consecrated. At the Little Quarter Cemetery was gathered an innumerable crowd. Here, as at the home of the deceased, the assembled opera personnel, under the personal direction of the orchestra director Nesvadba, sang a funeral ode. A touching conclusion of significance was the casting down weeping of the wreaths and flowers at the grave... There was among the assembled artistes none saying goodbyes whose eyes were not bright with tears.’