[Met Performance] CID:8210
United States Premiere (Der Barbier von Bagdad)

Metropolitan Opera Premiere (Die Puppenfée)
Der Barbier von Bagdad {1}
Die Puppenfée {1}
Metropolitan Opera House: 01/3/1890.
 (United States Premiere)
(Debut: Giovanni Ambroggio, Mr. Fraedrich, Mr. Horn, Miss Itzel, Miss Bielek, Miss Prockl, Miss Pechow, Frank Damrosch, George Egener, Josef Hassreiter
Review)


Metropolitan Opera House
January 3, 1890
United States Premiere


DER BARBIER VON BAGDAD {1}
Cornelius-Cornelius

Abul Hassan.............Emil Fischer
Margiana................Sophie Traubmann
Nureddin................Paul Kalisch
Bostana.................Charlotte Huhn
Mustapha................Wilhelm Sedlmayer [Last performance]
Caliph..................Joseph Beck

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

Director................Theodore Habelmann

Der Barbier von Bagdad received eight performances this season.

[Alternate title: The Barber of Bagdad.]


Metropolitan Opera Premiere


DIE PUPPENFÉE {1}
Jo. Bayer

Doll Fairy..............Margaretha Urbanska
Talking Doll............Josefine Ambroggio
Toy Merchant............Giovanni Ambroggio [Debut]
Plumpstershire..........George Egener
Lady Plumpstershire.....Christine Egener
Clerk...................Mr. Fraedrich [Debut]
Peasant.................Mr. Horn [Debut]
Peasant's Wife..........Miss Itzel [Debut]
Servant.................Mr. Dannenfels
Spaniard................Miss Bielek [Debut]
Japanese................Miss Forstner
Tyrolean................Miss Louie
Chinese.................Miss Prockl [Debut]
Chinese.................Miss Pechow [Debut]

Conductor...............Frank Damrosch [Debut]

Director................George Egener [Debut]
Choreographer...........Josef Hassreiter [Debut]

Choreography realized by G. Ambroggio

Die Puppenfée received eight performances this season.

From the unsigned review in The New York Times

"The Barber of Bagdad" was heard for the first time in America at the Metropolitan Opera House last evening. The work was listened to by a goodly assemblage and applause was showered upon it with the warmth of people who are hospitable to the stranger within their gates. Though new to America, "The Barber of Bagdad" is thirty-one years old, for it was produced and had a run of one consecutive night at Weimar in 1868.

The composer, Peter Cornelius, who was his own librettist, was a son of the painter of the same name, and was born at Mainz in 1824. He began his career as an actor, and was a dismal failure, so he was put to work at the study of music. His sympathies were with the ideas of Wagner, and in 1853 he went to Weimar and became one of the little band of artists which, under Liszt's guidance, was striving to disseminate the new doctrines. He wrote skillfully in the "Neue Zeitschrift für Musik." and to show his practical belief in the theories composed his opera.

The performance last night, as noted, was good. Herr Fischer, though just recovered from illness and out of voice, added another to his long list of triumphs as the loquacious and learned barber. Herr Kalisch, who was also just out of the clutches of the "grip," was the Nureddin. He sang his music with his customary taste and finish, and acted with intelligence. Fräulein Sophie Traubmann made her first appearance of the season as the Cadi's daughter, Margiana, and her fresh, clear voice was heard with pleasure. She sang her share of the love duet quite commendably. Herr Sedlmayer appeared also for the first time this season, performing the Cadi. He is a singing actor a la Wagner with a vengeance. His vocal work is of the most maddening kind, yet he manages to convey the meaning of the text, and he has a good idea of humor. Fräulein Hugh was the Bostana, and her share of the evening's labors were performed acceptably. The chorus sang exceedingly well considering the difficulty of their measures.

The opera has been richly and tastefully mounted. Two new scenes have been painted, the second of which is a symphony in blue, and fairly rivals the famous pink palace in which dwelt "Ermioie." The stage furniture provided for the production is all new, and excellently made. The costumes are exceedingly brilliant and have an aspect of the Oriental gorgeousness quite unfamiliar in a house where the primordial negligee of Wagner music drama is so frequently exhibited. The opera was followed by a new Viennese balled entitled "Der Puppenfée," of which detailed assessment must be reserved until a future occasion. Suffice it to say it was an agreeable and picturesque novelty, quite within the comprehension of the most fashionable brain.



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