[Met Performance] CID:80810
Die Tote Stadt {8} Academy of Music, Philadelphia, Pennsylvania: 03/28/1922.

(Review)


Philadelphia, Pennsylvania
March 28, 1922


DIE TOTE STADT {8}

Marietta, Marie.........Maria Jeritza
Paul....................Orville Harrold
Brigitta................Marion Telva
Frank...................Robert Leonhardt
Fritz, Pierrot..........Robert Leonhardt
Juliette................Alice Miriam
Lucienne................Grace Anthony
Gaston..................Armando Agnini
Victorin................Rafaelo Díaz
Albert..................Angelo Badà

Conductor...............Artur Bodanzky

Review of H. T. Craven in Musical America

"THE DEAD CITY" IN PHILADELPHIA

Metropolitan Opera Company Applauded in Performance of Korngold Work

The opera-going public in this city has grown tolerant of novelties. It may even be said that new works provoke keen interest and generous criticism for a time. The reception of Erich Korngold's "Die Tote Stadt," presented by the Metropolitan Company at the Academy of Music on March 28, was therefore extremely cordial. The permanency of such sentiment is another matter. In opera the first year is the easiest. For this reason it is somewhat difficult to estimate the enduring qualities of "Die Tote Stadt" from the warmth of its reception here in its initial season.

The interest of a large audience naturally centered in the appearance of Maria Jeritza, creator of the roles of Marie and Marietta in America. The magnetic personality, physical charms and stirring histrionic gifts of this artist came as no surprise to Philadelphians, who had previously welcomed her in "Lohengrin" and "Tosca." Nevertheless, thrills were abundant in a remarkable dramatic portrait. Orville Harrold, as the lachrymose Paul, proved a gratifying surprise. Not only was his vocalism eloquent, but his understanding of an extraordinary character was clear and convincing.

The auxiliary parts were all admirably filled, with Marion Telva as Brigitta, Alice Miriam, Grace Anthony, Armando Agnani and Roberto Leonhardt as members of Marietta's theatrical troupe and that especially attractive artist, Rafaelo Diaz, as the Stage Manager. Angelo Bada appeared as Count Albert and Leonhardt as Frank. Artur Bodanzky read the score with sympathetic authority, although at times a trifle too noisily. The stage settings were duly atmospheric, and the numerous visions dexterously handled.



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