[Met Performance] CID:6610



Götterdämmerung
Metropolitan Opera House, Thu, February 16, 1888




Götterdämmerung (6)
Richard Wagner | Richard Wagner
Brünnhilde
Lilli Lehmann

Siegfried
Albert Niemann

Gunther
Adolf Robinson

Gutrune
Auguste Seidl-Kraus

Hagen
Emil Fischer

Alberich
Rudolph Von Milde

Woglinde
Sophie Traubmann

Wellgunde
Marianne Brandt

Flosshilde
Louise Meisslinger


Conductor
Anton Seidl





In this season't performances of Götterdämmerung, the following music was omitted: the scene with the three Norns in the Prologue; and in Act I, Scene 3, the scene between Brünnhilde and Waltraute.

Review 1:

Review in The New York Times

METROPOLITAN OPERA HOUSE.

"Die Götterdämmerung" was performed at the Metropolitan Opera House at a special matinée yesterday before one of the largest audiences ever brought together in the building. The profound impression made by this unique and powerful work speaks volumes for the growth of Wagner's popularity to this city, Its success would have been impossible without the preparatory course of instruction in the design and character of Wagner's music which the public has been receiving now for some years and which, beginning with the occasional performance of the less severe instrumental parts of his music-dramas, has proceeded through the presentation of dramatic excerpts on the concert stage and in oratorio to the present revelation of his greatest undertakings. The public has ceased to regard the opera as a resort for an hour's amusement, and now accepts it as a serious form of art to be approached in a studious mood. This condition of public taste is unquestionably higher than any which it has known in the past, and paves a broad and open way for larger achievements in the future. Much of it is undeniably due to the enterprise and self-sacrifice of the stockholders of the only established Opera House in the country, aided invaluably by the judgment of Mr. Edmund Seaton, of which a large number of admirers of German music have formally signaled their appreciation. The testimonial offered yesterday was a fitting expression of the good feeling with which his efforts in a worthy cause has surrounded him; and at the close of the season of large artistic value he deserves to be heartily congratulated. The performance of the opera yesterday was carried on in that spirit of earnestness which has been noticeable throughout the series of Wagner performances. Despite their defects, these representations will be memorable in American musical annals.



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