[Met Performance] CID:85620
Der Rosenkavalier {35} Metropolitan Opera House: 12/22/1923.

(Debut: Raimondo Ditello
Review)


Metropolitan Opera House
December 22, 1923


DER ROSENKAVALIER {35}

Octavian.....................Delia Reinhardt
Princess von Werdenberg......Florence Easton
Baron Ochs...................Paul Bender
Sophie.......................Queena Mario
Faninal......................Gustav Schützendorf
Annina.......................Kathleen Howard
Valzacchi....................Angelo Badà
Italian Singer...............Orville Harrold
Marianne.....................Marcella Röseler
Mahomet......................Virginia Gitchell
Princess' Major-domo.........Pietro Audisio
Orphan.......................Nannette Guilford
Orphan.......................Louise Hunter
Orphan.......................Henriette Wakefield
Milliner.....................Phradie Wells
Animal Vendor................Raffaele Lipparini
Notary.......................William Gustafson
Leopold......................Giordano Paltrinieri
Faninal's Major-domo.........Raimondo Ditello [Debut]
Innkeeper....................George Meader
Police Commissioner..........Carl Schlegel

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

Review signed J. A. H. in Musical America

A Popular 'Rosenkavalier'

Strauss' delightful "Rosenkavalier" was given at the popular-priced Saturday night performance on Dec. 22, with two singers new to principal rôles. These were Delia Reinhardt, who appeared for the first time here as Octavian, and Queena Mario, who assumed the role of Sophie for the first time on any stage. Mmes. Easton, Roeseler and Howard, and Messrs. Harrold, Bender and Schützendorf and Bada appeared in their accustomed roles, and the remaining parts were sung by Mmes. Alcock, Hunter, Guilford, Wells and Gitchell, and Messrs. Meader, Schlegel, Gustafson, Paltrinieri and Audisio. Mr. Bodanzky conducted.

Mme. Reinhardt's Octavian is a very delightful piece of work. Comparison with other singers who have sung the part here are inevitable, but be it said that Mme. Reinhardt's interpretation can stand such comparison. She was best in the first act, when her boyish and naïvely intense love-making was very charming. The transition from boy to man in the second act was also very convincing. Vocally Mme. Reinhardt did the best work she has done here.

Queena Mario's Sophie was a bit of perfection. There may have been some apprehension beforehand as to whether the caliber of her voice was sufficient for the part, but the duet of the presentation of the rose put any possible doubt to flight. Never before in the Metropolitan has this hideously difficult music been sung with such ease and such soaring tone. In the marvelous trio toward the end of the last act, where the interweaving of the voices and the high tessitura again present frightful difficulties, Miss Mario's clear tones dominated the scene. In the final duet, almost invariably sung off-key, the high B-naturals were absolutely true to pitch and lovely in quality. Miss Mario's acting was charming throughout and she scored every point. In fact, her performance was a complete triumph.



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