[Met Performance] CID:9680
Tristan und Isolde {17} Metropolitan Opera House: 02/25/1891.

(Review)


Metropolitan Opera House
February 25, 1891


TRISTAN UND ISOLDE {17}
Wagner-Wagner

Tristan.................Heinrich Gudehus
Isolde..................Antonia Mielke
Kurwenal................Juan Luria
Brangäne................Marie Ritter-Götze
King Marke..............Emil Fischer
Melot...................Adolph Von Hübbenet
Sailor's Voice..........Andreas Dippel
Shepherd................Edmund Müller
Steersman...............Wilhelm Schuster

Conductor...............Anton Seidl

Director................Theodore Habelmann

Tristan und Isolde received three performances this season.


Review of W.J. Henderson:

The first performance this season of 'Tristan und Isolde' did not draw as large an audience at the Metropolitan Opera House last night as it might have done had the weather been of a more encouraging nature. The performance was high and artistic in spirit, and all the principal singers worked with a devotion and energy which were highly creditable. The audience was in an expectant mood, and in spite of some shortcomings the hearers were not wholly disappointed.

Frau Mielke has been successful as Isolde in Germany, and it was in the natural order of things that she should do well here. Her tremendous energy and courage in attack were, perhaps, the most noticeable features of her singing, for it must be admitted that her lower register is hardly equal to the demands of the difficult music. In general the spirit of her action was lofty, but it is a pity that she does not display that skill in 'make-up' which one would like to see. She continues to make her self look uncommonly homely on the stage.

As Tristan Herr Gudehus was very successful. He looked well, acted with dignity, and sang the music in tune. Indeed, the duet of the second act was treated with uncommon care by him and Frau Mielke. The Brangane was Frau Ritter-Götze, whose singing was generally excellent, though in some places the music is a little too high for her limited compass. Her facial expression was very significant, but her action was exceedingly tortuous and serpentine. It does not seem to be necessary for any one to writhe through the first act as she did. Herr Luria was generally acceptable as Kurvenal, though there was little feeling in his looks or acting. King Mark is always safe in the hands of Fischer, but it is a serious thing to note that his voice is not as smooth and sonorous as it used to be.

The chorus did its work well, and Herr Dippel struggled successfully with his small share of the evening's work. The orchestra played superbly, and Herr Siedl conducted in his usually masterly manner.



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