[Met Performance] CID:3000

Opening Night {2}, Metropolitan Opera Premiere, New Production, General Manager (Director of the Opera and Conductor): Leopold Damrosch

Tannhäuser
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Metropolitan Opera House, Mon, November 17, 1884

Debut : Anton Schott




Tannhäuser (1)
Richard Wagner | Richard Wagner
Tannhäuser
Anton Schott [Debut]

Elisabeth
Auguste Seidl-Kraus

Wolfram
Adolf Robinson

Venus
Anna Slach

Hermann
Joseph Kögel

Walther
Emil Tiferro

Heinrich
Otto Kemlitz

Biterolf
Joseph Miller

Reinmar
Ludwig Wolf

Shepherd
Anna Stern


Conductor
Leopold Damrosch


Director
Wilhelm Hock

Set Designer
Charles Fox, Jr.

Set Designer
William Schaeffer

Composer
Richard Wagner


--



Richard Wagner



Tannhäuser received sixteen performances this season.
This was the first time a German opera was performed in its original language by the company. The Dresden version of Tannhäuser was presented until the revival of 1/30/1889. Auguste Seidl-Kraus changed her professional name from Kraus the next year when she married the conductor Anton Seidl. The married name is used for all her performances.
Alternate Title: Tannhaeuser

Review 1:

Review of W. J. Henderson in The New York Times

OPERA AT THE METROPOLITAN.

The season of opera at the Metropolitan was entered upon yesterday evening with a performance of "Tannhäuser." The house, vastly improved in appearance by a liberal use of gold and crimson upon the walls, proscenium, and ceiling, and crowded in every part by a highly representative audience, wore a gala appearance, and the continuous attention bestowed upon the entertainment indicated that the occasion was viewed as of far more importance than the opportunity for a brilliant social gathering offered by the inception of the habitual series of opera nights. The choice of Wagner's works was indeed proof in itself that the occasion was not to be placed upon the same footing as ordinary operatic representations. Whether "Tannhäuser" and kindred achievements are popular or not, their large proportions, severe beauties, and uncommon requirements as to interpreters and stage costume make their production an affair of much greater moment than the bringing forth of the simpler operas in which the successful prima donna or tenor of the hour is seen at his or her best. In a company as numerous as that which Dr. Damrosch has gathered, it would have been an easy task to have adhered to routine practice by presenting the leading artists, one by one. Faithful to his opinions, however, as a progressive musician and a German impresario, he preferred arranging his repertoire with a closer regard to the novelty and interest of its elements than to the more or less speedy introduction of his singers to the public. That a season of opera carried on by German artists should be inaugurated by one of Wagner's operas was altogether natural. The selection of "Tannhäuser" is to be commended for a variety of reasons. It is less hackneyed than "Lohengrin," less flimsy than "Rienzi," and less involved than anything the German composer wrote during the last years of his life. It contains, in truth, much that is wearisome, but portions of the score are delightfully melodious, some of the numbers, in point of theme and treatment are equal in massive grandeur to anything found in Meyerbeer's most elaborate musical pageants, and the portion of the work allotted to the orchestra is a long symphony, tedious perhaps at certain stages of the story, but abounding in melodic and harmonious passages of ravishing loveliness. To a local audience "Tannhäuser" is not exactly a new opera. Composed about 40 years ago, its completion preceded directly the period in which Wagner broke loose from all traditions and conventions and devoted himself wholly to putting into practice his theories as to the superiority of mythical subjects and alliterative text over the familiar librettos of Italian and German poets. "Tannhäuser" has long been known to a fair proportion of the New York public, but the acquaintance of the majority with its excellence has scarcely been intimate. Its happiest numbers have in reality elicited more frequent admiration in the concert room than on the stage. The wonderful overture, in which the keynote to the drama-illustrative, it will be remembered, of the struggle between Christian and pagan love is so clearly struck, the wild and brilliant bacchanal, the impassioned duet between Venus and Tannhäuser, the pilgrims' chorus and march of the bards, Elizabeth's prayer, and the "Evening Star" romance have been played and sung so often as "membra disjecta" of the parent composition that possibly not a few of the semi-occasional operagoers, yesterday must have referred to the whole production as an elderly lady once did to "Hamlet," when she complained that the piece was made up of quotations. All the numbers of the score mentioned above are of exceptional beauty and eloquence; even in Paris, where an organized claque was assembled to make sure of the failure of the German composer's achievement, the overture, march, chorus, and romance were loudly applauded. To offset the good effect of these parts of the opera, there is much that is wearisome to the listener. Most of the scenes are drawn out to an excessive length by slow tempi and by interminable "speeches" to which it would be absurd to apply the name of music, while the conflicts between the bards, which occupies 120 pages out of 380 of the Italian vocal score, is nearly as exhausting to the audience as it must be to the singers. In its entirety, it is safe to affirm that "Tannhäuser" is not at all likely to be popular. But we repeat that Dr. Damrosch evinced judgment in bringing it forth as a fit prelude to a season which promises to be notable and successful, not merely through the appearance of efficient performers, but mainly through a varied, interesting, and important repertoire. The representation last evening was admirable in many respects. The orchestra was simply perfect in point of expressiveness and technical precision, the chorus, but for an occasional inaccuracy of intonation in the first scene, could lay claim to almost as cordial praise, and the singers entrusted with the leading roles worked well together, and in two or three instances produced a decided impression. Herr Adolf Robinson, who personated Wolfram, is one of the best baritones the opera-going public has lately had a chance of listening to. He has a noble voice, which he used with German energy and intelligence and with the skill of a master of Italian cantabile, according as occasion suggests, and his acting is full of ease, breadth, and power. It is needless to mention that Herr Robinson's most impressive effort was his romance in the third act; everything that he did, however, was characterized by the same earnestness, feeling, and finish. Herr Josef Kögel, who represented the Landgrave, proved to be a basso equipped with sonorous tones and a declamatory style quite equal to the exigencies of his role. The other singers, personated by Herren Tiferro, Kemlitz, and Wolf all had competent interpreters. Fräulein Kraus, who was Elisabeth, is a songstress of experience, whose voice becomes a little reedy when forced, but whose declamation is expressive, and whose acting is highly dramatic. Her scenes with Tannhäuser were extremely effective, and her performance during the singers' contest very forcible. Venus, as portrayed by Fräulein Slach, and the young Shepherd, as embodied by Fräulein Stern were respectable delineations. Regarding the representation of Tannhäuser by Herr Anton Schott little need be said at present. Possibly he was overcome by nervousness or overexertion, and possibly the change of climate may have affected him unfavorably. Bearing in mind that the tenor has a European reputation it would be well to suspend judgment upon him until a second hearing offers him an opportunity of making a more pleasant impression than he wrought last night. Yesterday his Tannhäuser was a disappointment. Let us add that the opera was placed upon the stage with new and magnificent scenery and dresses, that the episodes in which the chorus took an active part had an aspect of animation and reality seldom beheld in performances of Italian opera, that there was frequent and enthusiastic applause, and that Dr. Damrosch, who, of course, conducted the orchestra, was called before the footlights and cheered after the curtain had fallen upon the first act.

Review 2:

Review by Henry Krehbiel New York Tribune

The season of grand opera in German under the direction of Dr. Damrosch was opened at the Metropolitan Opera House last night under circumstances of the most auspicious character. So far as the externals were concerned all the brilliant features of the opera of the Italian season were repeated, but those who understand the significance of the movement into which the directors of the Opera House have been carried by what seemed to them unfortunate circumstances will realize that a somewhat different state of affairs existed in the artisitic regions of the establishment. Last year's opening night was the first step in an effort to clothe the old operatic regime with new tinsel; last night's performance was the beginning of an effort to establish grand opera in New York on the lines which obtain in Continental Europe. The highest significance, therefore, consisted in the publication which it gave with reference to these purposes. Realizing the claims which such a view makes upon serious and deliberate discussion we do not purpose to attempt a

Review 3:

Review of the representation at this time. How the intentions of the composer were realized we will discern on another occasion.

The audience surpassed in number that of the memorable opening a year ago. It numbered fully 5,000 people and many hundreds who came were unable to obtain admission. .

Program cover for the 1884-85 Season

November 17, 1884 Program

Photograph of Auguste Seidl-Kraus as Elisabeth by Falk.

Photograph of Leopold and Walter Damrosch by Rockwood.



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