[Met Performance] CID:95320
The Bartered Bride {31} Metropolitan Opera House: 02/7/1927.

(Debut: Ruth Page
Review)


Metropolitan Opera House
February 7, 1927
In German


THE BARTERED BRIDE {31}
Smetana-Sabina

Marenka.................Maria Müller
Jeník...................Rudolf Laubenthal
Vasek...................George Meader
Kecal...................Michael Bohnen
Ludmila.................Marion Telva
Krusina.................George Cehanovsky
Háta....................Henriette Wakefield
Tobias..................James Wolfe
Circus Barker...........Max Bloch
Esmeralda...............Louise Hunter
Red Indian..............Arnold Gabor

Act I Polka - Arranged by August Berger
Ruth Page [Debut], Giuseppe Bonfiglio, Corps de Ballet

Act II Furiante - Arranged by August Berger
Ruth Page, Giuseppe Bonfiglio, Muriel Halliday, Corps de Ballet

Act II Skocna: Dance of the Comedians - Arranged by Ottokar Bartik
Corps de Ballet

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

Director................Wilhelm von Wymetal
Set designer............Joseph Novak
Choreographer...........August Berger
Choreographer...........Ottokar Bartik
Translation by Max Kalbeck

[The opera was listed in company programs as Die Verkaufte Braut. The Overture was played preceding the second act of the opera.]

The Bartered Briade received three performances this season.

Review (unsigned) in the New York Post

'The Bartered Bride' at the Metropolitan

Smetena's delightful peasant-opera "The Bartered Bride" was given a spirited and charming performance at the Metropolitan last evening, its first of the current season. The subscribers had their fill of colorful and tasteful settings, ballets, comedy, and lilting, light-hearted music.

Michael Bohnen's Kezal was as fine a piece of comic acting as one could ask to see and the best possible evidence of the extraordinary versatility of a fine artist. Opera goers are forced ordinarily to be satisfied with far inferior work in such parts; it is meant as a high compliment to Mr. Bohnen, when one says that his performance recalled De Luca at his best. The remaining roles were for the most part in capable hands. Marion Telva singing Ludmila, Maria Müller, Marenka, George Meader, the half wit Wenzel - but for an occasional bit of overacting the role was admirably performed and especially well sung - and Rudolf Laubenthal, Hans.

Mr. Laubenthal is large and handsome and chesty enough for the heroic part, but there were times last evening when one wished to go across the street until he had finished singing. Some of his upper tones were about as musical as the shriek of a fire engine siren, and there were other moments when he sang off key. Two of his duets with Ludmila were really quite distressing.

Ruth Page, an American dancer, made her debut and found a warm reception awaiting her, which she heartily deserved. The ballets gave her an excellent opportunity for the display of her skill, and it is safe to forecast that she will become a popular favorite. She was especially delightful in the first act polka, which she danced with Bonfiglio. Artur Bodanzky conducted and contributed notably to the spirit that made the performance notable. The renowned overture was played before the second act and was applauded almost as much as if the regular claque had been present.



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