[Met Performance] CID:6360



Faust
Metropolitan Opera House, Wed, January 4, 1888


In German



Faust (28)
Charles Gounod | Jules Barbier/Michel Carré
Faust
Max Alvary

Marguerite
Lilli Lehmann

Méphistophélès
Emil Fischer

Valentin
Adolf Robinson

Siebel
Louise Meisslinger

Marthe
Lena Göttich

Wagner
Emil Sänger

Dance
Theodora De Gillert


Conductor
Walter Damrosch







Review 1:

Review in The New York Times

Conductor...............Walter Damrosch

Unsigned

Review 2:

Review in The New York Times

METROPOLITAN OPERA HOUSE.

That the old familiar "Faust" has not lost its power of attracting the dear public has been shown by the size of the audiences which have attended its representations at the Metropolitan Opera House this season. Those who like to find discouraging reasons for the unfailing fondness of the people for this opera like to attribute its present drawing power to the ballet which, in the historic representations of the Academy, did not appear. But the applause which follows the well-worn numbers of the opera shows that affection for them is still warm. "Faust" is by no means the best thing that the Metropolitan Opera House company does and the performance last evening, like its predecessors, had serious faults. It would be too much to expect the industrious and conscientious singers of the company to be equally at home in Wagner, Weber, Meyerbeer, Halévy, and Gounod. The vocal style of some of the artists is ill-suited to the flowing, sensuous measures of the last-named composer, and the audience unquestionably misses those "tours de force" to which the traditions of the Italian stage has accustomed us. This, however, is not a matter to cause much grief, for "tours de force" belong to that kind of virtuosity which is inimical to the progress of the loftiest art. However, though there are defects which have heretofore been noted in the performance of "Faust" at the German opera, the presentation of the opera has many excellences which commend it to public attention. Herr Fischer's Mefistofeles is a good performance. The accomplished basso makes a rather jovial fiend and a trifle more of the sneer would increase the strength of his work, but he is picturesque and he sings well. Fräulein Lehmann's Marguerite is somewhat cold and statuesque, but is vocally pleasing. Herr Robinson's style makes him more at home in the opera than his associates, but his faults of vocalization show to strong disadvantage. Herr Alvary as Faust and Fräulein Meisslinger as Siebel succeed fairly. The chorus and orchestra are tolerable,



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