[Met Performance] CID:34090
Parsifal {14} Metropolitan Opera House: 12/1/1904.

(Debut: Roberta Glanville
Review)


Metropolitan Opera House
December 1, 1904


PARSIFAL {14}

Parsifal................Alois Burgstaller
Kundry..................Olive Fremstad
Amfortas................Anton Van Rooy
Gurnemanz...............Marcel Journet
Klingsor................Otto Goritz
Titurel.................Adolph Mühlmann
Voice...................Josephine Jacoby
First Esquire...........Katherine Moran
Second Esquire..........Paula Braendle
Third Esquire...........Albert Reiss
Fourth Esquire..........Werner Alberti
First Knight............Julius Bayer
Second Knight...........Emil Greder
First Flower Maiden.....Marguerite Lemon

Other Flower Maidens: Susanne Baker, Paula Braendle, Lucy Lee Call, Jessie Clevinger, Minnie Egener, Mildred Elliott, Roberta Glanville [Debut], Bessie Greenwood, Elsa Harris, Lillian Heidelbach, Jeannette Herzog, Lucille Lawrence, Helen Mapleson, Lucie Isabelle Marsh, Maud Meredith, Miss Franklin, Miss White, Katherine Moran, Florence Mulford, Selma Pfeiffer, Rosa Ritchie, Mabel Rockwell, Alice Sanford, Ada Schramm, Estelle Shearman, Adeline Thomas, Edith Vail, India Waelchli, Blanche Yorke, Blanche Yurka

Conductor...............Alfred Hertz

[This listing for the Flower Maidens reflects the way they were given in the program. In announcements of Parsifal for this season, Marguerite Lemon, already a solo artist with the company, was included among the principals. When the names of the others were not listed, they were described as "The Pupils of the Opera School".]


Review of Henry Krehbiel in the New York Tribune:

But the new Kundry was, of course, the chief feature of interest. Last night it fell to Mme. Fremstad to undertake the difficult task. How well she acquitted herself we shall not undertake to say in the midst of yesterday's musical hurly-burly, lest injustice be done to Wagner, to her and to her associates in the part. Her voice gave her the advantage in the first act, over most of her predecessors, except Mme. Kirkby-Lunn, who must also be considered. It left her at a considerable disadvantage in much of the music of the second. But Kundry is not merely a singing role. There is not a trace of the conventional operatic marionette in it, and in the things which mark the line of difference most broadly she was gratifying. Hers is the sort of dramatic intelligence which Wagner calls for; hers is also the intelligence, quickened, warmed, inspired by feeling and whole-hearted devotion. She did not attempt to body forth the first phase of the contradictory character of Wagner's compound creation by vocal explosions in her curt speeches and wildness of gesture, but by eloquent declamation. It was a triumph of spirit over matter, and the lovers of "Parsifal" were made glad.



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