[Met Performance] CID:8670



Götterdämmerung
Ring Cycle [10]
Metropolitan Opera House, Wed, March 19, 1890




Götterdämmerung (24)
Richard Wagner | Richard Wagner
Brünnhilde
Lilli Lehmann

Siegfried
Heinrich Vogl

Gunther
Joseph Beck

Gutrune
Louise Meisslinger

Hagen
Emil Fischer

Woglinde
Sophie Traubmann

Wellgunde
Emmy Miron

Flosshilde
Charlotte Huhn


Conductor
Anton Seidl


Ring Cycle [10]






In this season's performances of Götterdämmerung, the following music was omitted: the scene with the three Norns in the Prologue; in Act I, Scene 3, the scene between Brünnhilde and Waltraute; and Act II, Scene 1, with Alberich and Hagen.

Review 1:

Review in The New York Times

METROPOLITAN OPERA HOUSE.

The Wagner "cyclone" as it has been wittily called, came to an end at the Metropolitan Opera House last evening with s fine performance of the closing drama of the Nibelung trilogy. The presentation of the entire series of Wagner's music-dramas (except "Parsifal") has been a very significant event in the history of opera in this town. Whatever may be thought of the value of Wagner' art theories, there can be no denial of the fact that a development of some kind has taken place in musical taste; for such a thing as the Wagner "cyclus" would have been hopelessly impracticable half a dozen years ago, Its triumphant success proves beyond the possibility of a doubt that Teutonic art has obtained a wide and deep hold on the affections of this public.

Next week we are to hear Italian opera, and there is every prospect that the short season will be successful. If it is, it will simply be another proof that New York is the most cosmopolitan city on earth. We cannot fancy that the Germans will patronize the Italian opera very largely, any more than we can believe that many Italians have attended the German opera. Success for both means that there are Americans enough in this town of widely-varying taste or of great enough catholicity to make both kinds of opera possible. This seems to be pretty good ground for believing that opera in the English language, if given on the same scale of excellence as either German or Italian opera, would speedily become the music of the future in New York.

Last evening's performance of "Die Götterdämmerung" did not differ materially from those which have already taken place this season. Herr Vogl appears to much better advantage in this work than in "Siegfried." His maturity is in place, and his appearance is satisfactory. We do not look for the same freshness and buoyancy of youth in the hero of "Die Götterdämmerung" as we expect in the young Siegfried. The music, too, seems to be more congenial to Herr Vogl, and he sang last night with fine vigor and plenty of tonal power.



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