[Met Performance] CID:5300



Le Prophète
Metropolitan Opera House, Wed, November 17, 1886

Debut : Rudolph Von Milde, Wilhelm Basch, Miss Leonhardt


In German



Le Prophète (24)
Giacomo Meyerbeer | Eugène Scribe
Jean of Leyden
Albert Niemann

Berthe
Lilli Lehmann

Fidès
Marianne Brandt

Zacharie
Georg Sieglitz

Jonas
Max Alvary

Mathisen
Rudolph Von Milde [Debut]

Count Oberthal
Wilhelm Basch [Debut]

Dance
Malvina Cavalazzi

Dance
Miss Leonhardt [Debut]


Conductor
Walter Damrosch


Director
Mr. Van Hell

Set Designer
Charles Fox, Jr.

Set Designer
William Schaeffer

Set Designer
Gaspar Maeder

Set Designer
Mr. Thompson

Costume Designer
D. Ascoli

Costume Designer
Henry Dazian





Le Prophète received five performances in German this season.

Review 1:

Review in The New York Times

METROPOLITAN OPERA HOUSE.

Last evening's representation of "The Prophet" at the Metropolitan Opera House was witnessed by an audience of exceptional size and brilliancy. The honors of the performance were borne off by Fräulein Brandt, who has never been in better condition, vocally, than yesterday and Wednesday and whose singing and acting, in respect of intense feeling and powerful expression, quite carried away last night, the throng of listeners. Fräulein. Lehmann's work was, as to lyric execution, quite as good as Fräulein Brandt's, and it goes without saying that the soprano's tones in freshness and vibrancy need fear no comparison with those of the older artist; in the great scene in the fourth act, however, Fräulein Lehmann committed the mistake of making the dramatic situation subservient to a display of voice and virtuosity, while throughout the opera her acting, as may be imagined, was not to be

named in the same breath with that of her associate. The representation, all the same, was the occasion of a triumph for both songstresses, and both had to come before the curtain thrice previous to the disclosure of the cathedral scene. Fräulein Brandt's success, as implied, commenced with her initial arioso and ended with the denouement of the familiar story. The climax of her dramatic portrayal of Fides was reached, as heretofore, in the cathedral scene, in which the conflicting emotions of the hapless mother were depicted with consummate skill. At this stage of events she was admirably seconded by Herr Niemann, whose facial expression, gesture, and deliivery revealed unmistakably an artist of rare sensibility and experience; in the proceedings before Münster, Herr Niemann was scarcely as happy; vocal resonance is imperatively needed in the harangue to the rebellious troops, and something of theatrical dignity and vigor, which appears foreign to the simplicity and earnestness of the tenor's methods, was missed in his performance. The remaining roles were in efficient hands, the three Anabaptists-embodied by Herren Alvary, von Milde. and Seiglitz - keeping closer to intonation than is habitually the case with those unmelodious and unsympathetic personages, and Dr. Basch delineating acceptably, if not with notable emphasis, Count Obeathal. The chorus was in good form and the orchestra at its best, Mr. Walter Damrosch directing. Needless to add that the scenic attire of "The Prophet" at the Metropolitan is all that could be wished; the cathedral scene last evening was set with all the wonted wealth of color as to costumes and accessories, and with an eye to accuracy and detail claiming even warmer praise than the liberality and taste shown in the gorgeousness of the stage picture,



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