[Met Performance] CID:6080
Le Prophète {29} Metropolitan Opera House: 11/16/1887.

(Debut: Theodora De Gillert
Review)


Metropolitan Opera House
November 16, 1887
In German


LE PROPHÈTE {29}
Meyerbeer-Scribe

Jean of Leyden..........Albert Niemann
Berthe..................Biro De Marion
Fidès...................Marianne Brandt
Zacharie................Johannes Elmblad
Jonas...................Otto Kemlitz
Mathisen................Rudolph Von Milde
Count Oberthal..........Adolf Robinson
Dance...................Theodora De Gillert [Debut]

Conductor...............Walter Damrosch

Director................Theodore Habelmann
Set Designer............Charles Fox, Jr.
Set Designer............William Schaeffer
Set Designer............Gaspar Maeder
Set Designer............Mr. Thompson
Costume Designer........D. Ascoli
Costume Designer........Henry Dazian

Translator unknown

Le Prophète received two performances this season.

[Theodora De Gillert's name was mispelled Gellert at her first performances.]

Unsigned review in The New York Times

Meyerbeer's opera "Der Prophet" was presented at the Metropolitan Opera House last evening for the first time this season. There was a large audience present, and the applause was both frequent and vigorous. The light measures of Meyerbeer were no doubt a grateful change to that portion of the musical public which regards it as a task to study the significance of operatic scores. "Der Prophet," moreover, contains much music of a virile and noble nature; but it is unnecessary to expatiate upon the value of the work, which is well known to alt music lovers, and maintains its popularity in spite of many changes in public fancy. The performance last night was in most respects similar to the presentations of last season, which will be remembered as meritorious. Herr Niemann was undoubtedly the central figure of the evening. John of Leyden is a rôle which affords abundant scope for the display of his dramatic powers, and his physical proportions are admirably suited to the part. He was in unusually good voice last evening, and at times surprised the audience by the vigor of his upper notes, which he sustained with all the determination, if not with the grace, of an Italian tenor. Moreover, he imparted to his music a fine degree of expression and passionate intensity. His acting was at all times manly and dignified and frequently forceful and picturesque. His entire impersonation had the merit of intelligence and consistency. Fräuleln Marianne Brandt was again the Fides. Her interpretation of this part is thoroughly familiar to the patrons of the Metropolitan Opera House. Vocally it is susceptible of improvement, for the contralto's voice is not what it was. Nevertheless, she sings with fire and dramatic intensity, and occasionally last evening her work called forth enthusiastic applause. Frau Biso de Marion was not wholly satisfactory as Bertha. Her voice is considerably worn, and she frequently forced it disagreeably. Herr Robinson was excellent as the Count, and Herren Kemlitz, Von Milde, and Elmblad were acceptable as the three Anabaptists. The chorus and orchestra discharged their duties efficiently. Mlle. De Gillert appeared in the ballet. Walter Damrosch conducted well.



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