[Met Performance] CID:5880



Le Prophète
Metropolitan Opera House, Wed, February 23, 1887


In German



Le Prophète (28)
Giacomo Meyerbeer | Eugène Scribe
Jean of Leyden
Anton Schott

Berthe
Lilli Lehmann

Fidès
Marianne Brandt

Zacharie
Georg Sieglitz

Jonas
Max Alvary

Mathisen
Rudolph Von Milde

Count Oberthal
Wilhelm Basch

Dance
Malvina Cavalazzi [Last performance]

Dance
Miss Leonhardt [Last performance]


Conductor
Walter Damrosch







Review 1:

Review in The New York Times:

METROPOLITAN OPERA HOSE

"The Prophet," which, from its frequent performance at the Metropolitan ever since Dr. Damrosch's first year of German opera, appears to have worn better with local audiences than any other work in the current repertoire, had its final representation this season last night. Its rehearsal only differed from its immediate predecessors through Herr Anton Schott's portrayal of John of Leyden. The tenor was in particularly good form, whence it may be inferred that there was little or no drawback to the spectators' enjoyment of his strong and vibrant voice. He brought to his portrayal his wonted earnestness, which lost none of its effect through the artist's continuous endeavor to keep his dramatic impulses well in hand. In the church scene Herr Schott's "business" did not vary materially from that to which people have of late grown accustomed; his expression of John of Leyden's varied emotions was sufficiently vivid, although it may be doubted if the situation was very deeply felt by the performer. For a long while, however, "The Prophet" has been an opera for the prima donnas concerned in its representation, and the opportunities it affords Fides and Bertha were never used to greater advantage than last night. Fides is unquestionably Fräulein Brandt's happiest effort, and the beautiful and striking music assigned to Bertha is capitally suited to Fräulein Lehmann's brilliant voice and powers of endurance. The climax of the evening, yesterday, was really attained in the third act of the opera, and after the duet there were four of five of the most enthusiastic recalls ever united in at the Metropolitan, All that followed this number was of subordinate interest, despite the fact that Fräulein Brandt was as pathetic as ever in the interview in the Minster, and that the spectacular incidents connected with this part of the opera were managed with somewhat exceptional skill. As a whole, the performance was thoroughly satisfactory. The three anabaptists were embodied by Herren Alvary, von Milde, and Sieglitz, Dr. Basch sang Oberthal, and Mr. Walter Damrosch conducted the band.



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