[Met Concert/Gala] CID:352040
Second German Künstlerfest. New York, Manhattan, Hotel Astor: 03/19/1910.
New York, Manhattan, Hotel Astor
March 19, 1910
Benefit for the Deutsche Bühnengenossenschaft, the Metropolitan Opera Pension Fund, the provident fund of the Association of German Authors
SECOND GERMAN KÜNSTLERFEST
Von Suppé: The Light Cavalry Overture
Der Tanz der Simonetta: a dance based on a painting by Botticelli
Lorezno de Medici.......Rita Sacchetto
Simonetta...............Irmgard von Rottenthal [First appearance]
Der Todesengel..........Madeleine Dabo [First appearance]
Erste Freundin..........Una Fairweather [First appearance]
Zweite Freundin.........Helen Coster [First appearance]
Die Lustigen Weiber von Windsor: Overture
Bildern von Nestroy: Tannhäuser (a parody)
Landgraf Purzel.........Otto Goritz
Venus...................Rosina Van Dyck
Wolfram Dreschenbach....Robert Blass
Walter Finkenschlag.....Wilhelm Otto
Taubenklee Fridolin.....Ludwig Burgstaller
Pages: Richard Hageman, Dr. Ernst Jokl,
Johannes Heidenreich, Edward Falck
Directors: Andreas Dippel and Otto Goritz
Review from the New York Times:
OPERA SONGSTERS REVEL AT A BENEFIT
Musical Mincemeat Served Up to a Fashionable Audience in the Astor Ballroom.
CLOG DANCE BY MISS ALTEN
"Tannhauser " Sung as it Might Be interpreted if the Cast Suddenly Went Crazy.
Those who send flowers to the singers at the Metropolitan Opera House might have learned an economical trick last night at the second German " Künstlerfest," given in the Grand Ballroom of the Hotel Astor, when in the performance of Nestroy's parody of "Tannhäuser" each of the artists in succession was presented with the same set of wreathes, properly tied with streaming ribbons. There were five of them, and Otto Goritz and his horse received them after the first act. Albert Reiss was the next recipient and then Bella Alten took them on her outstretched arm.
The aforesaid parody of "Tannhäuser" was the principal feature of an evening which included everything from a glimpse of Albert Hertz's bald head and his waving arias conducting the overture to "Merry Wives of Windsor" to Rita Fornia in the Tip-Top Theatre singing "Has anybody here seen Kelly?" and dancing clog dances for the edification of Andreas Dippel and Maud Allen, and the other adventurers who were willing to pay more than the first admission price, which was $3.
It should be said that this money was not divided between Rita Fornia, Otto Goritz, and the others who had so kindly consented to take part, but was distributed between the Deutsche Bühnengenossenschaft, the pension fund of the Metropolitan Opera House, and the provident fund of the Association of German authors.
Particular and first praise is due to the scene painter for his contributions to Nestroy's "Tannhäuser." He frankly acknowledged his indebtedness to Beyreuth for his ideas, but still he should be given full credit for his fine painting of the Wartburg, perched high upon the hill and looking like a Shoreham villa, surmounted by an American flag, with the Nile in the left background, flanked by the pyramids and stately date Palms. When Adolf Muhlmann, who is something under seven feet, was discovered sitting on a rock piping, clad as a shepherd boy, at the beginning of this scene, the enormous audience burst into the sort of applause which is heard in the music halls when a fine moonlight canvas with a shimmering river is exposed to view.
Poor little Reiss Tannhäuser in the meanwhile escaped from Venus and lies on his stomach beating the ground with his toes, while pilgrims in long mantels and silk hats, smoking cigars, dash rapidly by. The approach of Landgram Goritz is the sign, of course, for hunting music. The long-lost Tannhäuser is discovered, and he is reminded of El-Lis-a-a-a-a-beth -no one in last night's audience will ever forget this word-and then the horse is brought on and the crowd canters off-yes, on one horse-to the Wartburg.
Of course, all this follows the action in Venus's "elikatessenkeller," whatever that is. There Rosina Van Dyck and four lusty ballet girls disported themselves right merrily, but were evidently finally flouted by Tannhäuser Reiss. And it was followed by Bella Alten's delicious entrance into the "theure halle." This burlesque of an operatic air was a masterpiece of conception and execution. The ensuing march soon becomes lost in the strains of Meyerbeer's "Coronation March," when Fides and John of Leyden march in. Both of them are kissed as rapturously by Landgraf Goritz and Elizabeth Alten as the other guests have been.
Strains from "The Magic Flute" introduce Sarastro and the Queen of the Night. There are also guests from "Figaro" and "Wilhelm Tell." Presently, however, the real business of the evening is reached - the song contest. The pages introduce Wolfram Dreschenbach, who is mournful and terdious, but Tannhäuser tunes hls guitar In a lighter key, and soon has the entire Wartburg household dancing.
Besides Bella Alten, Otto Goritz, and Rosina Van Dyck, and Adolf Muhlmann, who have already been mentioned, and who were inimitable, Robert Blass, Wilhelm Otto, Ludwig Burgstaller, and Stephen Buckreus appeared in other smaller parts with great success. The excruciatingly funny pages were Richard Hagemann, Ernnst Jökl, Johann Heidenreich, and Edward Famck.
"Tannhäuser" was conducted by Hans Morgenstern.
It was preceded by a divertissement called "Der Tanz der Simonetta," which Rita Sacchetto had arranged after a picture of Botticelli's, and in which she herself appeared as Lorenzo de Medici.
After the "Tannhäuser" the company adjourned to the Tip-Top Theatre, which had been arranged by Dr. Baumfeld, and in which many of the opera artists already mentioned and many others made merry. Toward 1 a.m., for instance, if you had been there, you might have heard Florence Wickham singing "Lula Lula."
There was a Munich beer garden in which Marie Mattfeld was the chief barmaid. The "Liquor Pavillion" was presided over by Bella Alten and several other Metropolitan singers. Mme. Gadski sold autographs of almost all the famous singers of the Metropolitan Opera House. There was a Japanese tea house and many other attractions. Andreas Dippel and Otto Goritz were the artistic directors of the affair. The audience entirely filled the grand ballroom and was very brilliant.