[Met Performance] CID:7030
Die Meistersinger von Nürnberg {16} Metropolitan Opera House: 01/14/1889.

(Review)


Metropolitan Opera House
January 14, 1889


DIE MEISTERSINGER VON NÜRNBERG {16}

Hans Sachs..............Emil Fischer
Eva.....................Katherine Senger-Bettaque
Walther von Stolzing....Max Alvary
Magdalene...............Hedwig Reil
David...................Wilhelm Sedlmayer
Beckmesser..............Ludwig Mödlinger
Pogner..................Joseph Beck
Kothner.................Alois Grienauer
Vogelgesang.............Albert Mittelhauser
Nachtigall..............Jean Doré
Ortel...................Max Dörfler
Zorn....................Martin Paché
Moser...................William Cook
Eisslinger..............Hans Göttich
Foltz...................Joseph Witt
Schwarz.................Mr. Eiserbeck
Night Watchman..........Jean Doré

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

Unsigned review in The New York Times

METROPOLITAN OPERA HOUSE.

The second performance of "Die Meistersinger" at the Metropolitan Opera House last evening was in some respects an improvement on the first, which is saying not a little, for the first performance was an uncommonly good piece of work. Last evening, however, some of the singers were more at their ease. Herr Beck, who has done much of late to redeem his shortcomings in "Lohengrin," put more spirit and significance into his interpretation of Pogner, and he sang the well-known "Address" in the first act with exceedingly good judgment. Herr Grinauer, too, was more acceptable as Kothner. There are no rôles in "Die Meistersinger" that can be slighted. Every personage is a notable character sketch, and it requires a company of talented comedians to bring out the lights and shades of the work. It is for this reason that too much care cannot be expended on the study of rôles like Kothner.

Herr Alvary is not, if one wishes to be precise, ever in good voice, but at some times his voice is better than at others. Last evening was one of the others. But his performance of Walter is intelligent and has much to commend it. Herr Fischer's interpretation of Hans Sachs is always good, and last night was no exception to the rule. There is such a fine spirit of good nature, of genuine human feeling about it, that Sachs becomes the friend not only of every one in the drama, but also of all in the audience. Fräulein Senger-Bettaque gives an aspect of grace and maidenly modesty to Eva, but her singing is far from being of the best sort. She is sadly given to forcing her voice which results in her singing sharp and produces an effect on the heartstrings not unlike that produced by Mrs. Shaw's whistling.

It is a pleasure to repeat what we have said before - that the Metropolitan performance of "Die Meistersinger" this season is praiseworthy for its general fidelity to the spirit of the work. The stage management is good, and details are carefully attended to. The movement of the minor personages carries out the author's ideas. As for the orchestra, it deserves the highest praise for its work, which is admirable in smoothness, and expressiveness.



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