[Met Performance] CID:8460
Die Walküre {39} Metropolitan Opera House: 02/12/1890.

(Review)


Metropolitan Opera House
February 12, 1890


DIE WALKÜRE {39}
Wagner-Wagner

Brünnhilde..............Lilli Lehmann
Siegmund................Julius Perotti
Sieglinde...............Sophie Wiesner
Wotan...................Theodore Reichmann
Fricka..................Emmy Sonntag-Uhl
Hunding.................Conrad Behrens
Gerhilde................Betty Frank
Grimgerde...............Nina Hartmann
Helmwige................Sophie Traubmann
Ortlinde................Félicie Kaschowska
Rossweisse..............Emmy Miron
Schwertleite............Emmy Sonntag-Uhl
Siegrune................Charlotte Huhn
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 four performances this season.

Unsigned review in The New York Times

METROPOLITAN OPERA HOUSE.

The performance of "Die Walküre" at the Metropolitan Opera House last evening, the first of the present season, was attended by a large audience, but it was not of a most completely satisfactory character. This is not to say that it was without merit, for it was far from it. The novelty of the evening was Herr Reichmann's appearance as Wotan. In some respects his interpretation of the rôle was fine beyond criticism. His declamation was most impressive at times, and he brought out the significance of the text in places with splendid fidelity. In other places, however, he sang off the key very badly, though the music lies fairly within the register of his voice. His acting was forcible and picturesque. but it was wholly deficient in the weight, dignity, and repose which local audiences have learned to associate with this part.

Frau Lehmann's Brünnhilde is too familiar to need comment. It is only necessary to say that it was as good as usual. Fräulein Wiesner was a hopelessly unsatisfactory Sieglinde, and Frau Sontag-Uhl was a most lugubrious and ineffective Fricka. Herr Perotti was by no means as good a Sigmund as he was last season. He did not repress his mannerisms as he did then, but allowed his fondness for extravagant gesticulation and facial contortion free play. Herr Behrens was an earnest but somewhat vociferous Hunding. Probably the next performance of the work will show improvement.



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