[Met Performance] CID:92050
Die Walküre {213} Metropolitan Opera House: 01/20/1926.

(Review)


Metropolitan Opera House
January 20, 1926


DIE WALKÜRE {213}

Brünnhilde..............Nanny Larsén-Todsen
Siegmund................Curt Taucher
Sieglinde...............Florence Easton
Wotan...................Clarence Whitehill
Fricka..................Karin Branzell
Hunding.................William Gustafson
Gerhilde................Phradie Wells
Grimgerde...............Marion Telva
Helmwige................Marcella Röseler
Ortlinde................Laura Robertson
Rossweisse..............Ina Bourskaya
Schwertleite............Kathleen Howard
Siegrune................Grace Anthony
Waltraute...............Henriette Wakefield

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

Review signed B. B. in Musical America

'Die Walküre' Again

With an almost complete change of principals, Wagner's "Die Walküre" was given its second performance of the season on Jan. 20. Curt Taucher remained as Siegmund, and Clarence Whitehill reappeared in his familiar guise as Wotan, substituting at the last moment for Michael Bohnen, who was still prevented by illness from making his seasonal re-entrance on the Metropolitan stage. Mr. Whitehill's impersonation had the tragic and impressive dignity that he always imparts to that rôle, and Mr. Taucher's reading was one of his best.

Florence Easton, enacting Sieglinde for the first time in two years, gave a portrayal appealing in both vocal and personal charm. Nanny Larsen-Todsen, a fervent and forceful Brünnhilde, afforded one the satisfaction of hearing a sonorous soprano in the Valkyr cry that has been so often essayed of late by mezzo or contralto voices. Moreover, her singing was consistently firm and clear.

Karin Branzell as the incensed and imperative Fricka showed sovereign poise of presence and sang with richly colored tone. William Gustafson was a stalwart and sinister Hunding. The sorority of Valkyrs was composed of Marcella Röseler, Phradie Wells, Laura Robertson, Ina Bourskaya, Marion Telva, Henriette Wakefield, Grace Anthony and Kathleen Howard.

Artur Bodanzky conducted with an epic breadth in the heroic sections of the resplendent score, and with sedulous regard for the passages of lyric beauty.



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