[Met Performance] CID:3400
Le Prophète {10} Metropolitan Opera House: 01/23/1885.

(Review)


Metropolitan Opera House
January 23, 1885
In German


LE PROPHÈTE {10}

Jean of Leyden..........Anton Schott
Berthe..................Auguste Seidl-Kraus
Fidès...................Marianne Brandt
Zacharie................Joseph Kögel
Jonas...................Otto Kemlitz
Mathisen................Joseph Miller
Count Oberthal..........Alkuir Blum
Peasant.................Emil Totzech
Officer.................Ludwig Wolf
Citizen.................unknown
Dance...................Adèle Zollia
Dance...................Lucia Cormani
Dance...................Isolina Torri

Conductor...............Leopold Damrosch

Unsigned review in The Mail and Express

Frau Kraus in The Prophet.

It is a pleasant duty to record the fact that, not withstanding an important change of cast, the performance of "The Prophet" at the Metropolitan Opera House last night was as effective and stirring as the representations of the work earlier in the season. It will probably, therefore, continue one of the most successful operas given at the new house under Dr. Damrosch's direction. Last week it drew what is said to have been the greatest audience ever in the building, and last night the attendance was again very large. The latter fact, considered in connection with the fact that an important part, Bertha, was transferred from Frau Hanstaengl to Frau Kraus, shows how great is the public confidence in the management of the Metropolitan and its ability to provide an admirable ensemble notwithstanding the loss of a valuable artist from its ranks.

Frau Kraus, it is understood, sang the part of Bertha for the first time in her career last night, having studied it to oblige the management. Yet there was nothing tentative in her performance. Her Bertha was in the [first] scenes as graceful as her Marcelline in "Fidelio," and grew with the greater strides placed upon the character to the dramatic breadth of her Elizabeth. She gives the interest and the stimulus of a new personality to the performance, while her interpretation is so excellent in its way that it can from a histrionic point of view be placed beside that of the distinguished artist who preceded her; and vocally, though Frau Hanfstaengl surpasses her in wealth of voice and brilliancy of execution, Frau Kraus is fully able to enhance the truth and sincerity of her work. She is a capital artist, and her Bertha will raise her ever higher in public esteem.

For the balance the cast was the same as on previous occasions, while the stage setting as usual claimed distinction for lavish luxury. Frl. Brandt's Fides remains one of the finest of the season, Herr Schott is stalwart and impressive, and the three Anabaptists are now atoning for their vocal lapses of previous nights.



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