[Met Performance] CID:5460



Tannhäuser
Metropolitan Opera House, Fri, December 10, 1886




Tannhäuser (29)
Richard Wagner | Richard Wagner
Tannhäuser
Albert Niemann

Elisabeth
Auguste Seidl-Kraus

Wolfram
Adolf Robinson

Venus
Lilli Lehmann

Hermann
Emil Fischer

Walther
Max Alvary

Heinrich
Otto Kemlitz

Biterolf
Max Heinrich

Reinmar
Emil Sänger

Shepherd
Ida Klein


Conductor
Anton Seidl







Review 1:

Review in The New York Times

METROPOLITAN OPERA HOUSE.

The familiar representation of "Tannhäuser" was repeated at the Metropolitan Opera House last evening, in the presence of an assemblage that filled the spacious auditorium. It differed in no respect from the performance of the work referred to in these columns about a week ago. The same artists that were then seen in the opera were beheld in it on the occasion under notice, and the same melodious numbers that aroused enthusiasm a week, and, for that matter, 10 and 20 years back, elicited once more generous applause. The lyric success of the representation of "Tannhäuser" was, as is usually the case, for Herr Robinson; the dramatic honors were borne off by Herr Niemann. The tenor s voice was not as clear last night as it is when at its best, but the tonal deficiencies of his portrayal did not lessen its deep feeling or its intensity, nor did they seriously impair the effect of his simple, direct, and powerful methods of expression. The baritone, per contra, was in capital form. He would have wrought his old-time impression in the septet, but for Herr Seidl's persistent dragging of the time - which, by the way, threatened a total suspension of proceedings toward the close of Wolfram's narrative of Elizabeth's woes; - in his romance to the evening star. Fortunately, he was able to throw sentiment, elegance of phrasing, and tonal beauty in rather unusual proportions, and a faultless rendering of that lovely composition was the result. The portrayals or the remaining personages by Frau Krauss, Herr Fischer, and their associates have long been known to the habitual reader, and call for no fresh comment. The performance, as a whole, was admirably smooth and well balanced, and its influence upon the audience was denoted by recalls which followed each act.



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