[Met Performance] CID:7210
Die Walküre {28} Metropolitan Opera House: 02/15/1889.

(Debut: Helene Von Dönhoff, Nina Hartmann, Christine Egener
Review)


Metropolitan Opera House
February 15, 1889


DIE WALKÜRE {28}
Wagner-Wagner

Brünnhilde..............Fanny Moran-Olden
Siegmund................Julius Perotti
Sieglinde...............Lilli Lehmann
Wotan...................Emil Fischer
Fricka..................Hedwig Reil
Hunding.................Eugene Weiss
Gerhilde................Helene Von Dönhoff [Debut]
Grimgerde...............Nina Hartmann [Debut]
Helmwige................Sophie Traubmann
Ortlinde................Félicie Kaschowska
Rossweisse..............Emmy Miron
Schwertleite............Lena Göttich
Siegrune................Christine Egener [Debut]
Waltraute...............Hedwig Reil

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

Director................Theodore Habelmann
Set Designer............Josef Hoffmann
Set Designer............William Schaeffer
Set Designer............Gaspar Maeder
Costume Designer........Carl Doepler
Costume Designer........Henry Dazian

Die Walküre received eleven performances this season.

Unsigned review in The New York Times

METROPOLITAN OPERA HOUSE.

One of the best performances of "Die Walküre" ever given at the Metropolitan Opera House was that of last night. No doubt the evening was more edifying because expectation was much exceeded. The agreeable surprise of the occasion was largely due to Herr Perotti, who came out in a new and favorable light. Those who predicted that this tenor would fail as Siegmund were entirely out in their calculations. It would be flattery to say that Herr Perotti is an ideal Wagner singer, but he is very far from being a bad one. His exuberant use of his arms was less prominent than usual, though there was still something too much of it. But his acting was more dignified last evening and had a greater appearance of sincerity than ever before. His singing in general was very satisfactory. He did not yield to the temptation to over-elaborate and to hold notes, according to the Italian style, but he rendered the music faithfully and always ith force. Indeed, his singing of the great duo of the first act, and especially the beautiful love song was worthy of warm praise. Altogether, his Siegmund may be set down as a success.

Frau Lehmann was a magnificent Sieglinde. Never before has this public heard the dramatic intensity of the music brought out as it was last evening. It was a revelation. Her scene in the second act was a magnificent piece of work, and she bore on her shoulders a large share of the evening's honors.

Frau Moran-Olden was a fairly good Brünnhilde, though she frequently committed her besetting sin of singing out of tune. She hardly rose to the impressiveness of her scene with Siegmund in the second act, but her performance was generally creditable. Herr Fischer was in wretched voice, and did not do himself justice in his familiar rôle of Wotan. The only real blots on the performance, however, were the Hunding of Herr Weiss and the Fricka of Fräulein Reil. It is hardly necessary to tell those who know the style of these two singers that they were not agreeable last evening.

The performance us a whole was high in conception and well sustained in spirit. The orchestra was, as it almost always is, admirable in every respect. Herr Seidl conducted in his customary masterly style.



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