• REMOSANI, Thusnelda: actor / actress / theatre performer

Details of this ‘farewell-concert [Abschieds-Concert]’ given by the actress Miss Thusnelda Remosani were published on the day of the event by the German-language newspaper Bohemia. The source listed the programme of works to be performed as:

‘1. Overture to Egmont by Beethoven.
2. Declamation “Die Glocke” by Inisfear, performed by the concert-giver.
3. Concerto in G minor by Mendelssohn-Bartholdy with orchestral accompaniment, perf. by Miss Wilhelmine Čermak [Vilemína Čermáková].
4. Thema and Variations from the opera “Die Krondiamanten” by Auber, sung by Miss Brenner [Brennerová].
5. Polonaise Nr.2 by Liszt, perf. by Miss Wilhelmine Čermak [Vilemína Čermáková].
6. “Das Fischermädchen”, Ballade by Stengl, composed and performed by Mr Eilers.
7. Epilog, perfor. by the concert-giver.’

Evidently, from the the subsequent Bohemia 2/1/1861 review, signed ‘V.’, of the event, the programme changed dramatically at the last minute. The event itself seems to have created something of a scandal and furore among certain Prague artists and specifically with the management of the Estates Theatre who censored the involvement of the Theatre’s orchestra. This dispute seems to have involved contractual problems and perhaps actions by one of the conflicting parties which aroused the disapproval of the other. The correspondent writes:

‘Since the Grosser affair, which for many years lingered damagingly in our memory, we have not known of a case at the Prague Opera of such a sudden and unexpected resolution of the contractual relationship between management and one of its members, one who was highly esteemed by the public, as this which has of late deprived us for two months of a top-level female representative, just as we have gone for years without a character actor. The conflict [that took place] during the rehearsal of a new drama is an open secret. Now we would be glad to concede that the details that were forced into public knowledge were told not entirely truthfully and are exaggerated, and we want - only so as not to lose the objective viewpoint, and despite all outward counter-evidence - to believe that the blame that in most cases is ascribed to only one individual is not simply a unilateral matter; - yet for precisely that reason any clarification equal to the distinction of our great artistic house of the situation would be a justification of the measure under discussion and the circumstances arising in the heat of sudden personal surprise all the more desirable. As a counter to the modest reply of such simple dignity and composed calm of Miss Remosani to evidently not unexacerbated insinuations, bravely upholding a couple phrases concerning the performance of one’s duties etc. that do not fit with other hallmarks of the regime, [the stance of the Theatre] is insufficient. One will pardon the fact that, through the farewell concert given by Miss Remosani, we have allowed ourselves to breed intimations that really lay outside the scope of this report; yet it was precisely here that the impulse to the same was given, most forcefully, and the difficult question that now throws a harsh light on every aspect of our theatre’s existence, preoccupies the theatre lovers too much that it might, for love of peace and possibly bonhomie, be passed over completely. The importance of Miss Remosani for the local stage and the substitutes to which one must now resort in order to fill the gap at least nominally, are well-known. That Miss Remosani with her superb voice is an important declamatory artist, was demonstrated by her superb rendition of the phrase-rich and, though rich in tinkling words [in adjectives?], nonetheless monotonous poem Die Glocke von Inisfer; what popularity she has achieved here [was shown in] the stormy reception and the testimonies of applause following this number of the programme. However, the evidence of sympathy and distinction multiplied still more in the ‘Epilogue’ with which she bade her farewell to Prague. The poem called only for something ordinary at the right tempo; yet one could read between the words and more from this recitation, whose feeling was from deep within. The effect was thus very direct, and bore no trace of artifice. At the same time it should be emphasised that the attendance, considering with hindsight the location of the large [Žofín] Island Hall and also the time - the twelfth hour of New Year’s Day, can hardly be said to have been poor, and was made all the more talked-about for Miss Remosani since representatives of the highest strata of society were present. Anybody who has attended this season’s concerts and who also knows the present state of affairs in connection with this group of society will be aware of how heavily the situation weighs.

Of all the young lady’s colleagues, only Miss Brenner [Brennerová] and Mr Eilers turned out to support her. That our prima donna’s brilliant performance of the variations from Auber’s Krondiamanten brought her loud applause and curtain calls, goes without saying; Mr Eilers received similar distinction after his two performances of Lieder.

The difficulties and obstacles with which Miss Remosani’s concert faced, which probably resulted from a complete, and indeed special type of chivalry, were also evident from the fact that owing to “unforeseen circumstances” the orchestra was suddenly indisposed. As a result the Egmont  Overture was also dropped, and Miss Wilhelmine Czermak [Vilemína Čermáková] had to abandon her performance of Mendelssohn’s G minor Concerto and substitute Chopin. The Liszt Polonaise, incidentally, also gave this young lady pianist sufficient opportunity to demonstrate her power and accomplishment on the piano in a favourable light. She also enjoyed the highest approbation.’