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[Met Performance] CID:11500
Opening Night {10}, New Production, General Manager (Lessees and Managers): Abbey, Schoeffel & Grau
Faust
Metropolitan Opera House, Mon, November 27, 1893
Debut : Olimpia Guercia, Luigi Mancinelli, Armand Castelmary
Faust (50)
Charles Gounod | Jules Barbier/Michel Carré
*Henry E. Abbey, John B. Schoeffel and Maurice Grau
Faust received twenty-one performances this season.
Because of the fire and the backstage damage, all productions this season are presumed to be new.
Account from the New York Times:
New Metropolitan Opera House - A Beautiful Temple Arisen from the Ruin of the Old Building
There is scarcely a reminder of the old Metropolitan Opera House in the magnificent new building which will be opened to the public tomorrow night by Abbey, Schoeffel & Grau, with "Faust," for the beginning of the grand-opera season. The new house is a marvel of brightness in color and grace in all its outlines. The severe decorations of the auditorium, which was destroyed by the big fire, have given place to brighter ornamentation, and, while the seating capacity of the house has been materially increased, the comfort of its patrons has been steadily kept in view in the arrangement of the changes.
The fronts of the boxes and of the tiers of seats are decorated in ivory white and gold, with numberless electric lights, which bring the beautiful designs into prominence. There are the same two tiers of boxes as of old, the lower, or parterre, tier for the exclusive use of the stockholders, except the large "omnibus" box, on the Thirty-night Street Side, which is for the use of the Vaudeville Club. On the orchestra floor 350 additional seats have been placed, making the number nearly 900, and there is room behind them for 1,500 people to stand. This addition has been made without reducing the size of the old seats or in any way interfering with the comfort of patrons. The seats are upholstered in a dull red, with embroidered figures, and the carpets are generally of the same hue. Both the main floor and the stage have been lowered 3 ½ feet. Four large elevators, run by electric power, are on the Fortieth Street side of the building. Each has a capacity of about thirty persons.
There are 10,000 electric lights in the house, 5,000 of them being for use on the stage. The auditorium is lighted by five beautiful chandeliers, one large one depending from the centre of the ceiling, and four of smaller size hung from each corner, and by the numerous lights which decorate the front of the different tiers.
The opening of the stage is 54 feet wide and 50 feet high. From wall to wall it is 101 feet wide, and from the rear wall to the curtain line 73 feet, and to the front of the stage 86 feet deep. This is 30 feet deeper and 15 feet wider than the big stage of the Auditorium in Chicago. Over the proscenium arch is a fine painting, typical of "Melody," and the ceiling is decorated with allegorical paintings of an unusual order of merit.
Search by season: 1893-94
Search by title: Faust,
Met careers
Opening Night {10}, New Production, General Manager (Lessees and Managers): Abbey, Schoeffel & Grau
Faust
Metropolitan Opera House, Mon, November 27, 1893
Debut : Olimpia Guercia, Luigi Mancinelli, Armand Castelmary
Faust (50)
Charles Gounod | Jules Barbier/Michel Carré
- Faust
- Jean de Reszke
- Marguerite
- Emma Eames
- Méphistophélès
- Edouard de Reszke
- Valentin
- Jean Lassalle
- Siebel
- Olimpia Guercia [Debut]
- Marthe
- Mathilde Bauermeister
- Wagner
- Antonio De Vaschetti
- Conductor
- Luigi Mancinelli [Debut]
- Director
- Armand Castelmary [Debut]
*Henry E. Abbey, John B. Schoeffel and Maurice Grau
Faust received twenty-one performances this season.
Because of the fire and the backstage damage, all productions this season are presumed to be new.
Account from the New York Times:
New Metropolitan Opera House - A Beautiful Temple Arisen from the Ruin of the Old Building
There is scarcely a reminder of the old Metropolitan Opera House in the magnificent new building which will be opened to the public tomorrow night by Abbey, Schoeffel & Grau, with "Faust," for the beginning of the grand-opera season. The new house is a marvel of brightness in color and grace in all its outlines. The severe decorations of the auditorium, which was destroyed by the big fire, have given place to brighter ornamentation, and, while the seating capacity of the house has been materially increased, the comfort of its patrons has been steadily kept in view in the arrangement of the changes.
The fronts of the boxes and of the tiers of seats are decorated in ivory white and gold, with numberless electric lights, which bring the beautiful designs into prominence. There are the same two tiers of boxes as of old, the lower, or parterre, tier for the exclusive use of the stockholders, except the large "omnibus" box, on the Thirty-night Street Side, which is for the use of the Vaudeville Club. On the orchestra floor 350 additional seats have been placed, making the number nearly 900, and there is room behind them for 1,500 people to stand. This addition has been made without reducing the size of the old seats or in any way interfering with the comfort of patrons. The seats are upholstered in a dull red, with embroidered figures, and the carpets are generally of the same hue. Both the main floor and the stage have been lowered 3 ½ feet. Four large elevators, run by electric power, are on the Fortieth Street side of the building. Each has a capacity of about thirty persons.
There are 10,000 electric lights in the house, 5,000 of them being for use on the stage. The auditorium is lighted by five beautiful chandeliers, one large one depending from the centre of the ceiling, and four of smaller size hung from each corner, and by the numerous lights which decorate the front of the different tiers.
The opening of the stage is 54 feet wide and 50 feet high. From wall to wall it is 101 feet wide, and from the rear wall to the curtain line 73 feet, and to the front of the stage 86 feet deep. This is 30 feet deeper and 15 feet wider than the big stage of the Auditorium in Chicago. Over the proscenium arch is a fine painting, typical of "Melody," and the ceiling is decorated with allegorical paintings of an unusual order of merit.
Search by season: 1893-94
Search by title: Faust,
Met careers