[Met Performance] CID:5650
Lohengrin {37} Metropolitan Opera House: 01/17/1887.

(Review)


Metropolitan Opera House
January 17, 1887


LOHENGRIN {37}

Lohengrin...............Albert Niemann
Elsa....................Auguste Seidl-Kraus
Ortrud..................Marianne Brandt
Telramund...............Adolf Robinson
King Heinrich...........Emil Fischer
Herald..................Rudolph Von Milde
Noble...................Otto Kemlitz
Noble...................Julius Meyer
Noble...................Jean Doré
Noble...................Emil Sänger

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

Review in The New York Times:

METROPOLITAN OPERA HOUSE

There were some changes in the cast of "Lohengrin" at the Metropolitan Opera House yesterday evening. Frau Seidl-Krauss was seen as Elsa, Herr Robinson as Telramund, and Herr Fischer as the King, while Herr Niemann repeated his performance of Lohengrin and Fräulein Brandt her remarkable portrayal of Ortrud. The representations last mentioned were fresh in the memories of the audience, and both were distinguished by the merits of dramatic genuineness and force for which they have been admired from the first. The reassignment to Frau Seidl-Krauss, to Herr Robinson, and to Herr Fischer of the roles they filled last season resulted, on the other hand, in a marked improvement in the general rendering of "Lohengrin." If Elsa's latest representative is not gifted with as fresh and sensuously beautiful a voice as Frau Herbert-Foerster, who preceded her in Wagner's opera, she ranks far above the younger artist as an actress, and both Herren Fischer and Robinson are greatly in advance of Herren Sieglitz and Basch. The strongest impression wrought by yesterday's work was produced by the first half of the second act. Fräulein Brandt and Frau Seidl-Krauss were enthusiastically recalled at the close of their long duet, and, after the curtain had fallen upon the final tableau, all the performers were twice summoned before the curtain. The duet between Herr Niemann and Frau Seidl-Krauss in the last act of "Lohengrin" was not as effective as usual, the tenor being apparently so weary that he had to reduce many of his cantabile passages to half-spoken measures, and the soprano's voice lending little or no charm to the lovely strains of this loveliest number of the score. A very large audience was in attendance, and it was observed that the boxholders were unusually considerate of their neighbors in their frequent exchanges of inquiries, comments, and pleasantries.



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