• Cecilia Society: participating institution, chorus, orch
• WAGNER, Franziska: soloist, v
• REICHEL, Josef: soloist, v
• WEISSOVÁ, ?: soloist, v
• NEDVĚD, Antonín: soloist, v
• PETERS, ?: singer, v

Details of this event were published by Der Tagesbote 5/3/1854 in a report stating its date, time, venue and programme. The extract from Berlioz’s Trilogie sacrée and the work by Mendelssohn were noted as being performed for the first time [in Prague]. Although not specified by this source, the concert would have been directed by the Cecilia Society’s Director, Antonín Apt.

A brief overview of the concert, signed ‘J.H.’, was published by Der Tagesbote 10/3/1854. The correspondent listed the programme in performance order and commented upon the perceived success of the event: ‘The third Concert of the Caecilien Society yesterday evening brought us the following programme: First part. 1. Overture to Schiller’s Tragedy „Die Braut von Messina“ by Friedr. Schneider (for the first time [in Prague]. 2. Die Flucht nach Egypten. Biblical Legend [Biblische Legende], words and music by Hekt. Berlioz (new) a. Ouverture, b. Abschiedsgesang der Hirten beim Scheiden der heiligen Familie, c. Die Ruhe der heligen Familie, Legende und Pantomime. 3. Hymne for an alto voice, chorus and orchestra, composed by Felix Mendelssohn-Bartholdy (op.96, nr.25 of the posthumous works). (for the first time [in Prague]). Second part. Introduction and closing scene of the 1st Act of the opera „Lohengrin“ by Richard Wagner.’ The correspondent then related that the space available in this issue of the newspaper was too short to describe the individual compositions and allowed only cursory comment upon the production. Therefore a detailed review was promised for the next issue. Of the event in general, the correspondent remarked that ‘despite the unfriendly weather all parts of the venue were full’, and that the four numbers were successfully performed and gained the appreciation of the audience.

A more detailed review of the concert, also signed ‘J.H.’, appeared in Der Tagesbote 11/3/1854. After noting that the first two numbers of the programme were new, that the third item was new to the vast majority of the audience and that Wagner’s Lohengrin music had previously been presented by the Cecilia Society, the correspondent offered a critical opinion of each of the works given. Schneider’s Overture, ‘a greatly atmospheric composition’, was thought to have served as a worthy introduction to the concert. Although the performance was impeccable and full of verve, at two points the wind playing was thought to have been insufficiently expressive. The composition failed to impress the audience. Berlioz’s music stimulated an essentially critical appraisal from the correspondent. Its ‘idyllic-patriarchal’ style was felt to be far removed from that more famliarly associated with the composer of Carneval-Romaine and the Symphonie fantastique. The main criticism of the work was levelled at the ‘great length’ of the opening instrumental movement, which ‘at least in the layman was wearying in effect’. This was perceived to have contributed to the work’s ‘very weak success’ when given in Leipzig under Berlioz’s personal direction. Deemed to be more ‘refreshing’ in effect was the tenor solo and the Chorus of Angels, the former being performed ‘flawlessly and with a very laudable mezza voce’ by Mr Reichel.

To the Tagesbote correspondent the ‘crown’ of the concert was Mendelssohn’s Hymne for alto, choir and orchestra, a ‘composition full of ardency, sublimity, charm and power’. The performance was thought to have been impressive, particularly for the singing of the ‘promising young singer’ Miss Weiß [Weissová]. The last item of the programme, the extract from Lohengrin, was performed with almost ‘greater precision and effect... than during the previous year’. Of the solo vocalists, Mr Reichel was ‘excellent’ and Mr Nedwěd [Nedvěd] ‘for the greater part good’. Miss Wagner [Wagnerová], who sang the part of Elsa, was also commended, the critic drawing particular attention to her ‘purity of intonation’. The performance of the choir and orchestra of the Cecilia Society was noted to have been highly effective and received vociferous applause.

A subtantial review, signed ‘V.’, was published by the sister German-language newspaper Bohemia 11/3/1854.