[Met Performance] CID:6510
Die Walküre {26} Metropolitan Opera House: 01/30/1888.

(Review)


Metropolitan Opera House
January 30, 1888


DIE WALKÜRE {26}

Brünnhilde..............Lilli Lehmann
Siegmund................Albert Niemann
Sieglinde...............Auguste Seidl-Kraus
Wotan...................Emil Fischer
Fricka..................Marianne Brandt
Hunding.................Johannes Elmblad
Gerhilde................Marianne Brandt
Grimgerde...............Miss Kemlitz
Helmwige................Sophie Traubmann
Ortlinde................Ida Klein
Rossweisse..............Emmy Miron
Schwertleite............Lena Göttich
Siegrune................Minnie Dilthey
Waltraute...............Louise Meisslinger

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

Unsigned review in The New York Times

METROPOLITAN OPERA HOUSE.

If the Nibelungen series is carried to its end with the same spirit of love and enthusiasm as it opened with last evening the admirers of Wagner in New York will have a grand treat "Die Walküre" was the drama last night, and the keynote which was struck in the first act was a high one. Nothing has been done at the Metropolitan this season to surpass in warmth and feeling the famous duet of Siegmund and Sieglinde. Had the vocal resources of Herr Niemann and Frau Kraus been equal to their earnestness this would have been a wonderfully moving performance. As it was by sheer force of sincerity and vigor of histrionic expression, it so far filled the void made by vocal weakness as to reach the hearts of the audience. The fall of the curtain was followed by no less than five recalls for the two singers, and then another for Herr Seidl. The spiritual exaltation with which the evening began continued throughout the performance. The audience broke the good Wagnerian law against applauding save at the ends of acts, and broke out into plaudits several times after some of the stronger passages in the score, notably after Siegmund's love song. Brünnhilde's first utterance of the Valkyr's cry, and after the ride in the last act. The other artists, in addition to those already mentioned, were in earnest, and did their work in a fine spirit. Fraülein Lehmann's Brünnhilde is already well known as a broad and noble performance, conceived in a thoroughly poetic mood and executed with a strong touch. Herr Fischer, as Wotan, was a figure of great dignity and he sang the music like the true artist that he is. Fräulein Brandt's Fricka was good and Herr Emblad's Hunding was dark and foreboding. The Valkyr maidens sang excellently, and the orchestra worked with a will. On the whole, it was a notable performance.



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