[Met Performance] CID:4330
Die Königin von Saba {3} Metropolitan Opera House: 12/7/1885.

(Review)


Metropolitan Opera House
December 7, 1885


DIE KÖNIGIN VON SABA {3}

Queen of Sheba..........Marie Krämer-Wiedl
Assad...................Albert Stritt
Sulamith................Auguste Seidl-Kraus
King Solomon............Adolf Robinson
Astaroth................Marianne Brandt
High Priest.............Emil Fischer
Baal-Hanan..............Alexander Alexy
Dance...................Marie Bonfanti
Dance...................Bettina De Sortis

Conductor...............Anton Seidl

Review in The New York Times:

METROPOLITAN OPERA HOUSE

Last evening's representation of "The Queen of Sheba" at the Metropolitan Opera House drew out the usual brilliant and enthusiastic audience. Herr Stritt resumed his role of Assad, Herr Robinson reappeared as King Solomon, Frau Kraemer-Wiedl came forth as the Queen, and Fräulein Brandt was welcomed once more as Astaroth. The only change in the performance arose from the assignment of the role of Sulamith to Frau Krauss. The change was not a judicious one. Frau Krauss is a painstaking songstress who, in portions of Wagner's operas in which earnestness and force are required, is equal to the music and to the dramatic exigencies of the scene; where tenderness and refinement are needed, however, she is at a disadvantage in respect alike of voice and methods of expression, and when her work is brought into direct contrast with the refinement and finish of such performances as Fräulein Lehmann's in "The Queen of Sheba" the result is the reverse of satisfactory. Goldmark's measures grow upon the listener through repetition, but it is doubtful if their impression will be deepened after acquaintance with them shall have extended over a limited period. This is the fate of all art products that are rather the offspring of ingenuity and technical skill than the outcome of inspiration or extraordinary inventiveness. Meantime, there is much delicate enjoyment to be gotten out of the score of "The Queen of Sheba," in which sensuous beauty, graceful phrases, and rich and sonorous instrumentation abound. The magnificent "mise en scène" of the opera, as presented at the Metropolitan, is in itself worth beholding several times, and its numerous spectacular incidents elicted last night the wonted tribute of admiration and applause



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