[Met Performance] CID:95750
Fidelio {51} Metropolitan Opera House: 03/9/1927.

(Review)


Metropolitan Opera House
March 9, 1927


FIDELIO {51}

Leonore.................Nanny Larsén-Todsen
Florestan...............Rudolf Laubenthal
Don Pizarro.............Friedrich Schorr
Rocco...................Michael Bohnen
Marzelline..............Editha Fleischer
Jaquino.................George Meader
Don Fernando............Gustav Schützendorf
First Prisoner..........Max Bloch
Second Prisoner.........Arnold Gabor

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

Review of Grena Bennett in the American

'FIDELIO' PLEASES WITH RARE SCORE EFFECTIVELY SUNG

Beethoven's "Fidelio" was presented at the Metropolitan Opera House last night to an audience that evidently enjoyed every measure of its beautiful score. Music lovers have ever been divided regarding Beethoven's ability as an operatic composer. There has never been a question, however, as to the beauty and appeal of the setting to the very far-fetched plot of his only opera.

The cast provided in the season's revival is admirable in each particular, or in some, as a matter of fact exceptionally so. For example, Rocco, the jailer, is generally presented as a colorless and inoffensive individuality. Michael Bohnen, exercising his intelligence and making that qualification the background of his great art, interprets the role with such force, tempered by humanity that it has, in his hands, assumed real importance and a greater domination than has heretofore been associated with the part.

Rudolf Laubenthal sang Florestan, the leading tenor role; Nanny Larsen-Todsen was again heard as the faithful Leonore; Editha Fleischer gave charming utterance to the music of the flirtatious Marzelline; George Meader sang effectively as the romantic young Jacquino; Friedrich Schorr's fine baritone was heard in Don Pizzaro's brief scenes, and Gustav Schützendorf gave a capable performance of the villainous [sic]Don Fernando.

Various "Leonore" overtures were delightfully read under the careful and conscientious direction of Artur Bodanzky,



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