[Met Performance] CID:6170



Der Trompeter von Säkkingen
Metropolitan Opera House, Fri, December 2, 1887




Der Trompeter von Säkkingen (3)
Viktor Nessler | Rudolf Bunge
Werner
Adolf Robinson

Maria
Auguste Seidl-Kraus

Conradin
Johannes Elmblad

Baron
Emil Fischer

Countess
Louise Meisslinger

Count
Rudolph Von Milde

Damian
José Ferenczy

Major-domo
Otto Kemlitz

Rector
Emil Sänger

Dance
unknown


Conductor
Anton Seidl







Review 1:

Review in The New York Times

The Metropolitan Opera House was filled last night, when Nessler's "Der Trompeter von Säkkingen" was again sung. This bright and tuneful work has become popular with that extremely large class of persona fond of light music. Nessler's measures are full of melody, and have rhythmical movements that are easily caught by the unskilled ear. The opera is therefore a pleasant and welcome relaxation from the severer works of Wagner. The scoring shows the influence of that master, but the melodies have neither the novelty nor the poetic dignity of his motives. They are as simple as folk-songs, and for that reason easily digested. The performance of the opera at the Metropolitan has notably improved since the first presentation. Herr Robinson, while preserving the romantic spirit of Werner Kirchof, has toned down his singing so that there is less over elaboration and more genuine sentiment in it. Herr Elmblad, whose Conradin is picturesque, does not test the ears of his auditors with quite so much tonal power, though he has no small difficulty in holding his sonorous voice in check. Herr Fischer's interpretation of the Baron continues to be the most artistic work in the opera, while Herr Ferenzy's low comedy is amusing. Frau Seidl-Kraus was in good voice last night, and sang her music effectively, as did also Fräulein Meisslinger. The choral and spectacular parts of the representation moved with smoothness, and the ballet, which is one of the best ever seen in this city, though it decidedly interrupts the dramatic progress of the last act, was welcomed with applause. The performance as a whole was received with favor and the principal artists were called out at the close of each act.



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