Prager Morgenpost 18/3/1862 published news that ‘Miss Auguste Kolař [Kolár], the daughter of the esteemed Director of the Czech Theatre’ would be giving a concert in her native city Prague before her forthcoming trip to Paris to begin her career as a pianist. Miss Kolař it was noted had already performed successfully in Prague in previous Quartet Soirées. Her concert was to take place in the Konvikt Hall on 23rd March at 11.30 am. The programme and participants were listed in detail. A review, signed ‘-ý.’, was published by Prager Morgenpost 25/3/1862. This reported that ‘Miss Auguste Kolar, one of Master Proksch’s model-institute pianists gave in an over-full Konvikt Hall a concert, which due to the extremely interestingly assembled programme we can consider as being among the most attractive of the current [concert] season. It was opened with Rubinstein’s G minor Trio (for piano, violin and ’cello), in which Messrs Professor Mildner and Schmidt meritoriously participated. Following that the concert-giver gave a Gavotte by Rameau, a Rondo by Emanuel Bach, the Finale from Beethoven’s Sonata op.31, a Chopin Allegro and the breakneck Rigoletto Fantasie by Liszt, and ended with Miss Marie Proksch in a Duo for 2 pianos by Schumann. Miss Kolar has already such a proficient technique, such a surety and purity in playing that her diligence and perseverance that we can prophesy for her a great future. She has a total command of the most particular [technical] difficulties and her performance is level-headed and understanding.’ The critic described the salient characteristics of her playing, notably a nobility and warmth of expression. In her performance ‘The sound was as gentle as it was strong, as capricious as unhurried, from Miss Kolar’s magnificent, pure and elastic touch, the same with the exorbitant technical difficulties performed with passion and elegance, and the most graceful ornamentations [Tändelei] not lost.’ After noting and praising the particular interest of the ‘antique’ Gavotte ‘from 1690’ by Rameau, the correspondent went on to remark upon the playing of Miss Marie Proksch who it was noted was already well known to the audience through her earlier public performances. Miss Proksch was considered to be ‘a no-less talented pianist’ as Miss Kolar and ‘their performance [of the Duo by Schumann] was really heart-warming. The very animated audience acknowledged the concert-giver and Miss Proksch with frequent curtain-calls and applaise. In place of Miss Lucca, who was noted in the programme to be participating, Miss Mick [Miková] sang two songs with her distinctive voice. Mr Bachmann contribuded as interludes a really well worked song by Slanský and a very slight work by Storch. Finally, it is appropriate to note here that both pianos, their maker unknown, concerning their purity and fulness of tone, were of the most excellent quality.’      

Lumír 20/3/1862 reported that ‘Miss Augusta Kolárová, talented pianist, daughter of our [native] actor and writer, arranges on Sunday at noon a concert in the Konvikt [Hall], which without doubt will be well attended.’ A brief review, signed ‘a-a.’ appeared in Lumír 27/3/1862. The critic commented that ‘We must mention with merit and real pleasure the playing of Miss Augusta Kolárová. A great future is promised her, if she will with diligence follow her present path, if she will continue with assiduous and ardent zeal, for her talent is extraordinary. We hope that in artistic Paris and in the circles of well-known artists the young lady will perfect her playing and become for us a second Vilemína Klausová. Her choice of pieces [in the concert] furnished proof of the young artiste’s most cultured aesthetic.’

Národní listy 20/3/1862 also published advance news of this concert, noting its date, venue, programme and participants. This report also stated that the violinist in the Piano Trio was to be Mildner, and that Miss Luccová was to participate in the concert.

The unsigned Dalibor 10/4/1862  review related that the concert gained a ‘very numerous attendance’ and an ‘excellent success’. Kolárová’s playing was noted by this critic to be characterized by a strong, quite masculine touch, effective dynamic control, a suitably expressive and well-considered performance, and an excellent technique. This review made no mention of the vocal items performed in the concert. Of the works for solo piano, Prager Morgenpost and Národní listy identified the item by Chopin as his ‘Allegro vivace, opus 51’. The title ‘Allegro vivace’ and the opus number 51 correspond in Chopin’s output. Therefore the Dalibor reviewer’s note that the item by this composer was an untitled piece, ‘op.31’, is regarded as a misprint.

The pre-concert reports giving details of the programme related that the violinist in the performance of Rubinstein’s Trio was to be Mildner. Although the Prager Morgenpost review stated that the violin part was played by Mildner, both the Dalibor review of the concert and the review published by Bohemia 25/3/1862 recorded that the violin part was played by Brückner. The review of the event, signed ‘!!’, that was published in Prager Zeitung 27/3/1862 made no mention of the other participants in the concert. The event record specifies Brückner as having appeared in this performance; last-minute changes of performers in concerts were not unusual and the concert was well-advertised in advance as including Milder thus making a mistake in identification by subsequent reviews unlikely.