[Met Performance] CID:125040
Das Rheingold {81}
Ring Cycle [65] Uncut
. Matinee ed. Metropolitan Opera House: 02/9/1939.

(Review)


Metropolitan Opera House
February 9, 1939 Matinee


DAS RHEINGOLD {81}
Der Ring des Nibelungen: Cycle [65] Uncut

Wotan...................Friedrich Schorr
Fricka..................Karin Branzell
Alberich................Adolf Vogel
Loge....................René Maison
Erda....................Risë Stevens
Fasolt..................Herbert Alsen
Fafner..................Emanuel List
Freia...................Hilda Burke
Froh....................Erich Witte
Donner..................Julius Huehn
Mime....................Karl Laufkötter
Woglinde................Thelma Votipka
Wellgunde...............Lucielle Browning
Flosshilde..............Doris Doe

Conductor...............Erich Leinsdorf

Review of Oscar Thompson in Musical America

Season's First "Rheingold"

With the second performance of the afternoon Wagner cycle on Feb. 9, "Rheingold" made its entry into the season's repertoire and set in motion the vastly complicated mechanism of "Der Ring des Nibelungen" given uncut at these matinees. Erich Leinsdorf conducted and Leopold Sachse had charge of the stage. For the most part the rôles were bodied forth by singers well and favorably known in their parts. Friedrich Schorr was the Wotan and Karin Branzell the Fricka. Both had moments of vocal splendor. As Loge, Rene Maison was sinister and adroit. The dwarfs Alberich and Mime, were ably impersonated by Adolf Vogel and Karl Laukoetter. The giants were Emanuel List as Fafner and Herbert Alsen as Fasolt, the latter as throaty as in his earlier appearances in other rôles. Erich Witte sang Froh and Hilda Burke, Freia.

Most important of the changes from the casting of former "Rheingold"s was that which brought the voice of Rise Stevens to the music of Erda for the first time in New York. The personal charm which has played no trivial part in the young American contralto's current successes as Mignon and Octavian, was of no avail to her in the semi-darkness that surrounds the prophetess. Miss Stevens sang warmly and by no means inexpressively. But the music demands a heavier and more completely settled voice. In its present estate, hers is a lyric organ.

Julius Huehn again proved himself the best Donner of many years and it was a pleasure to note the fine quality of Lucielle Browning's voice in the choiring of the Rhine Maidens, her companions being Thelma Votipka and Doris Doe. Collectively the Nyxies gave a much happier account of their hymning of the gold in the first scene than in the last.



Added Index Entries for Subjects and Names


Back to short citation(s).