[Met Performance] CID:5680



Tristan und Isolde
Metropolitan Opera House, Sat, January 22, 1887 Matinee





Tristan und Isolde (6)
Richard Wagner | Richard Wagner
Tristan
Albert Niemann

Isolde
Lilli Lehmann

Kurwenal
Adolf Robinson

Brangäne
Marianne Brandt

King Marke
Emil Fischer

Melot
Rudolph Von Milde

Sailor's Voice
Max Alvary

Shepherd
Otto Kemlitz

Steersman
Emil Sänger


Conductor
Anton Seidl







Review 1:

Review in The New York Times :

METROPOLITAN OPERA HOUSE

Whether most of the spectators that witnessed yesterday's representation of "Tristan and Isolde" at the Metropolitan Opera House were drawn thither by curiosity, interest, or admiration is a question that it would be rather difficult to solve; the fact remains, however, that the receipts were the largest ever taken in since German opera was first given in this city. That popular taste is not likely, for any protracted period, to incline to works the very beauties of which are of so recondite a nature as to exact such study and preparation as few people care to bestow upon a task of this sort may be confidently predicted; that music lovers and the public at large reveal just now a strong penchant for Wagner is, on the other hand, undeniable. It is doubtful if in Germany, even, "Tristan and Isolde" could be sung quite as frequently and as profitably in the course of a single season; it is this very excess of longing for the music-drama, as typified by its ripest product, that makes one believe that the feeling referred to as existing in this city may not be lasting. Meanwhile, as implied, it is undoubtedly general and potent. The immense audience gathered at the Metropolitan Opera House yesterday not only mustered at the doors before they were opened, but remained until the last note of the score was reached. The second act proved by far the most impressive of the three, but even the long and dismal duet in act third commanded reverent attention. The cast was the same as heretofore, Herr Niemann being Tristan, Herr Robinson Kurvenal, Herr Fischer King Marke, Fräulein Lehmann Isolde, and Fräulein Brands Brangäne. How earnestly and skillfully these artists carry on the performance of one of the most difficult works ever brought forth - a work so difficult that it is to be wished that parts of it had been left unwritten - has been told in these columns again and again, and need not now be repeated. The duet in the second act will be remembered as what the Germans would call the "glaz-punkt" of the opera, not only through its melodious charm, its harmonic richness, and its impassioned poesy, but also through its interpretation by Herr Niemann and Fräulein Lehmann, two performers who, in the typical works of the Wagnerian repertoire, are not likely to be outshone by singers that after years may bring us.



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