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Grand Sunday Concert - Richard Wagner Program
Metropolitan Opera House, Sun, November 22, 1908
Grand Sunday Concert - Richard Wagner Program
Metropolitan Opera House
November 22, 1908
GRAND SUNDAY CONCERT
Richard Wagner Program
Lohengrin: Prelude to Act I
Tannhäuser: Aria
Lenora Sparkes
Die Walküre: Wotan's Farewell and Magic Fire Music
Herbert Witherspoon [First appearance]
Die Walküre: Winterstürme
Riccardo Martin
Die Walküre: Ride of the Valkyries
Tristan und Isolde: Prelude and Liebestod
Félicie Kaschowska
Tannhäuser: Entrance of the Guests
Metropolitan Opera Chorus
Die Meistersinger von Nürnberg: Act III, Scene 2
Lenora Sparkes
Riccardo Martin
Otto Goritz
Herbert Witherspoon
Adolph Mühlmann
Julius Bayer
Erik Schubert [First appearance]
Arthur Triebner [First appearance]
Stephen Delwary
Josef Sundermann [First appearance]
Walter Koch
Paul Knopf [Only appearance]
Herbert Waterous
Conductor...............Alfred Hertz
"Entire Metropolitan Opera Orchestra of 135 Men and Chorus of 250 Voices"
Erik Schubert, Arthur Triebner, Josef Sundermann, and Paul Knopf were members of the chorus.
"Entire Metropolitan Opera Orchestra of 135 Men and Chorus of 250 Voices"
Erik Schubert, Arthur Triebner, Josef Sundermann, and Paul Knopf were members of the chorus.
Review 1:
Review in the Telegraph
SWEET SINGERS AT BIG CONCERTS
Metropolitan and Manhattan Companies Both Please Big Audiences
WAGNER PROVES POPULAR
Lovers of grand opera in New York had a double treat last evening in the fact that both the Metropolitan and Manhattan opera houses gave Sunday evening concerts which delighted large audiences. At the Metropolitan a Richard Wagner programme was presented which more than satisfied a most critical audience, while at the Manhattan Mr. Hammerstein had arranged a purely concert programme, which was equally satisfying to the crowd of music lovers which filled every seat.
Owing to the illness of Alois Burgstaller, Riccardo Martin sang the "Liebeslied" from "Die Walküre." His rendition of the difficult part was loudly applauded. Miss Leonora Sparkes, in her rendering of the Arie der Elisabeth [from] "Tannhäuser," captured her audience and secured a most generous recognition in the way of applause.
The feature of the evening, however, was the first appearance in America of Felice Kaschowska. Her "Vorspiel" and "Liebestod," from "Tristan und Isolde," placed her immediately in the good graces of her audience.
The last scene from "Die Meistersinger von Nuremburg," with a chorus of 250 voices, and in which all the soloists took part, was the star piece of the evening.
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