[Met Performance] CID:95550
Das Rheingold {63}
Ring Cycle [48]
Matinee ed. Metropolitan Opera House: 02/24/1927.

(Review)


Metropolitan Opera House
February 24, 1927 Matinee


DAS RHEINGOLD {63}
Der Ring des Nibelungen: Cycle [48]

Wotan...................Michael Bohnen
Fricka..................Nanny Larsén-Todsen
Alberich................Gustav Schützendorf
Loge....................Walter Kirchhoff
Erda....................Karin Branzell
Fasolt..................Léon Rothier
Fafner..................Adamo Didur
Freia...................Maria Müller
Froh....................Max Altglass
Donner..................Arnold Gabor
Mime....................George Meader
Woglinde................Editha Fleischer
Wellgunde...............Phradie Wells
Flosshilde..............Marion Telva

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

Review (unsigned) in the New York Post

The afternoon of the New York "Wagner Festspiele" continued with a performance of "Rheingold" which inaugurated that of the entire "Nibelungen Ring" in this series. Bodanzky's broad and noble conception of the work and the individual excellence of the artists forming a notable cast aroused the enthusiasm of an audience which filled every nook and cranny of the Metropolitan. Noticeable in the throng were many youngsters of an age which means a probable first glimpse of the Wagner world and a surprising number of men. One busy lawyer of my acquaintance remarked upon the latter as we left the theatre, with the comment that he was amazed to find so many men of affairs who came uptown during the day present at a matinee performance.

Mme. Larsen-Todsen, a noble and appealing Fricka: Maria Müller, a young and radiant Freia; Michael Bohnen, a powerful Wotan, traditionally incorrect but imaginatively effective in his makeup; Walter Kirchhoff, a finely characterized Loge; Gustav Schützendorf, a most impressive Alberich; and Edita Fleischer, Phradie Wells and Marion Telva as a vocally admirable trio of Rhine maidens are well known to New York Wagner lovers. Branzell's Erda has a voice not easily equaled on the operatic stage today.

Whether by accident or design, the prismatic bridge upon which the gods are to ascend to Walhalla was most effectively atmospheric yesterday through the loss of the glaring color and definite outline which in former productions have robbed this final picture of its potential impressiveness. Once more the Metropolitan can be congratulated upon its Wagner productions.



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