[Met Performance] CID:54555
Die Walküre {153} Metropolitan Opera House: 12/26/1912.

(Review)


Metropolitan Opera House
December 26, 1912


DIE WALKÜRE {153}

Brünnhilde..............Johanna Gadski
Siegmund................Carl Burrian
Sieglinde...............Olive Fremstad
Wotan...................Hermann Weil
Fricka..................Margarete Matzenauer
Hunding.................Basil Ruysdael
Gerhilde................Bella Alten
Grimgerde...............Florence Mulford
Helmwige................Lenora Sparkes
Ortlinde................Vera Curtis
Rossweisse..............Rita Fornia
Schwertleite............Maria Duchène
Siegrune................Marie Mattfeld
Waltraute...............Lila Robeson

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

Review (unsigned) in unidentified newspaper

Another shifting of the stars in the Metropolitan Opera House interested a large audience last evening. The opera was Wagner's "Die Walküre" and the impresario offered his audience a great trio of feminine stars. Mme. Gadski, having completed her concert tour, has returned to the fold, and last evening she succeeded Mme, Matzenauer as the representative of the laughing Valkyr. Mme. Matzenauer, possibly just to show her versatility of voice and characterization, was transformed from a soprano to a contralto and became the impersonator of the indignant Fricka, whose hour of strutting the stage is brief indeed.

Mme. Fremstad alone retained her position in the arrangement. She was once more the unfortunate Sieglinde. The audience however was fortunate for it would be difficult to find a more beautiful and moving interpretation of the role than that which she gives. Mme. Gadski apparently thrives on travelling all over the United States, delighting all kinds of audiences, and even annexing a part of the territory as her own. Her voice was in excellent condition and her energy showed no diminution. She sang with brilliancy where that was required and with sustained dignity in other places: Her interpretation of Brünnhilde in the second drama of the tetralogy is well known to New York operagoers and greatly admired by them. It does not require any analysis at this late day.

The Wotan was Mr. Weil, who is at best an honest and hard working representative of the blundering father of the Norse family of deities. It must be said for Mr. Weil that his impersonation shows understanding and that it is generally correct according to traditions; but it lacks one essential element; namely, mellowness of vocal quality, This, however, does not seem to exist in Mr. Weil's voice and therefore the power to arouse tender emotions seldom comes to him,

Mr. Burrian repeated his familiar Siegmund and the Hunding was Mr. Ruysdael. The performance had the merit of sincerity throughout and the devotion of the several artists was not without uplifting results. Alfred Hertz conducted and showed his customary enthusiasm.



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