[Met Performance] CID:5250

Opening Night {4}, General Manager (Director of the Opera): Edmund C. Stanton

Die Königin von Saba
Metropolitan Opera House, Mon, November 8, 1886

Debut : Therese Herbert-Förster, Max Heinrich, Giovanni Ambroggio




Die Königin von Saba (26)
Karl Goldmark | Hermann Salomon Mosenthal
Queen of Sheba
Therese Herbert-Förster [Debut]

Assad
Max Alvary

Sulamith
Lilli Lehmann

King Solomon
Adolf Robinson

Astaroth
Marianne Brandt

High Priest
Emil Fischer

Baal-Hanan
Max Heinrich [Debut]


Conductor
Anton Seidl


Director
Mr. Van Hell

Set Designer
Henry E. Hoyt

Costume Designer
Henry Dazian

Lighting Designer
James Stuart, Jr.

Choreographer
Giovanni Ambroggio [Debut]





Die Königin von Saba received four performances this season.

Review 1:

Review in The New York Times

The season of grand opera in German at the Metropolitan Opera House was entered upon last evening under circumstances that should make the occasion memorable as the artistic and social event of the Winter. Since the Metropolitan was opened to the public, no audience of like brilliancy has been gathered within its limits. And since opera was first given in the United States, no representation more commendable in point of symmetry and none that could be at all compared with yesterday's in respect of the perfection of the orchestra performance and the completeness and splendor of the "mise en scène" has ever been beheld in the New World. It is simple justice to place these facts on record at the outset of a reference to last night's rendering of "The Queen of Sheba," for the magnificence of the entertainment and the quality and numbers of the assemblage that witnessed it were the only themes that can be dwelt upon without repeating much that has been already written in this place concerning Goldmark'a masterpiece and its chief interpreters in this city. "The Queen of Sheba," which was first brought out at the Metropolitan in December last, is an opera which proved steadily attractive throughout the season which came to an end last Spring. It is not a distinctly German work, for it abounds in the ancient forms of recitative, aria, duet, and trio, not to mention phrases and final measures purely Italian in both tunefulness and conventionality. But it is the very reverse of an Italian opera of the old school in the composer's treatment of the orchestra, whose duties, in respect of expressing the feelings of the characters and emphasizing their utterances, are almost as important as those of the band in the later achievements of Wagner. The charm of Goldmark's score is to be sought, however, neither in the writer's occasional imitation of Italian forms nor in the elaborateness of his instrumentation, but rather in its tonal richness, in the sensuous smoothness and sweetness of the musician's harmonies, and in the fascinating Oriental tinge which pervades its measures. The beauties of the opera, it is proper to add, are not of the original and shapely type that impress the listener at a single hearing, nor are they, when detected, of the ideal quality that makes neither a faultless stage interpretation nor magnificent scenic attire essential to the auditors' complete enjoyment. At the Metropolitan, however, the salient points of the opera are brought to the ear through mediums as nearly approaching perfection as can be found, and whatever appeal is to be made to the eye - and the appeal in "The Queen of Sheba" is pretty nearly continuous - is put forth by methods that are quite irresistible. The opera was mainly rendered last evening, by the artists that appeared in it last Winter. Herr Alvary was Assad, Herr Robinson King Solomon, Herr Fisher the High Priest, Fräulein Lehmann Sulamith, and Fräulein Brandt Astaroth. Fran Herbert-Forster, heretofore a stranger to American audiences. was seen as the Queen, and Herr Max Heinrich as Baal-Hanan. Some apprehension was felt as to the condition of Fräulein Lehmann's voice, the songstress having been indisposed for some days previous. It was promptly dispelled by her earliest measures, and from Fräulein Lehmann's entrance in the first act until the curtain fell upon the death of her lover the listeners had abundant opportunities of convincing themselves that the bright timbre and the power of the prima donna's tones and her skill and taste in the management of her organ were unimpaired. Fräulein Brandt was welcomed with accustomed fervor, and was thrice recalled after her vocalizzi in the second act. Herr Robinson imparted to the King the somewhat theatrical dignity required to relieve the character from utter dullness, and whenever a phrase of pure cantabile offered itself for execution - and Goldmark has allotted to the King a relatively liberal allowance of melodious measures - he made the most of the chance, and revealed himself, as in past seasons, as the best singer, in the exact sense of the word, the Metropolitan can boast of. The remaining rôles were in efficient hands. Herr Alvary's delineation of Assad being especially notable for picturesqueness of bearing and intelligent acting. The newcomer, Frau Herbert-Förster, was received with favor. Her mezzo soprano voice has both strength and resonance, and her comeliness for the first time since "The Queen of Sheba" was made known in this country, rendered Assad's infatuation comprehensible. The chorus labored faithfully and effectively and the orchestra did capital work. The scenery, dresses, and pageants were of unprecedented gorgeousness. Nothing like the entry of the Queen into Solomon's palace has ever been at tempted on the operatic stage in America, and nothing better has ever been achieved in any of the European capitals. The other spectacular incidents of the performance were as impressive in their way as the regal procession in the first act; in the third act, a cleverly planned and skillfully executed ballet was danced by an army of pretty ballerinas, led by Mlles. Cavalazzi and Leonhardt. The reproduction of the opera, in brief, was most successful; its fortunate accomplishment entitles all the artists concerned in the representation to a share of critical and popular admiration, while a very large measure of praise mist be reserved for Mr. Stanton, whose personal supervision of affairs made the revival of "The Queen of Sheba" quite as noteworthy an art event as its production under his direction last season.



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