[Met Tour] CID:80810



Die Tote Stadt
Academy of Music, Philadelphia, Pennsylvania, Tue, March 28, 1922




Die Tote Stadt (8)
Erich Wolfgang Korngold | [Paul Schott] pseudonym for Erich Wolfgang Korngold/Julius Korngold
Marietta, Marie
Maria Jeritza

Paul
Orville Harrold

Brigitta
Marion Telva

Frank
Robert Leonhardt

Juliette
Alice Miriam

Lucienne
Grace Anthony

Gaston
Armando Agnini

Victorin
Rafaelo Díaz

Albert
Angelo Badà


Conductor
Artur Bodanzky







Review 1:

Review of H. T. Craven in Musical America

"THE DEAD CITY" IN PHILADELPHIA

Metropolitan Opera Company Applauded in Performance of Korngold Work

The opera-going public in this city has grown tolerant of novelties. It may even be said that new works provoke keen interest and generous criticism for a time. The reception of Erich Korngold's "Die Tote Stadt," presented by the Metropolitan Company at the Academy of Music on March 28, was therefore extremely cordial. The permanency of such sentiment is another matter. In opera the first year is the easiest. For this reason it is somewhat difficult to estimate the enduring qualities of "Die Tote Stadt" from the warmth of its reception here in its initial season.

The interest of a large audience naturally centered in the appearance of Maria Jeritza, creator of the roles of Marie and Marietta in America. The magnetic personality, physical charms and stirring histrionic gifts of this artist came as no surprise to Philadelphians, who had previously welcomed her in "Lohengrin" and "Tosca." Nevertheless, thrills were abundant in a remarkable dramatic portrait. Orville Harrold, as the lachrymose Paul, proved a gratifying surprise. Not only was his vocalism eloquent, but his understanding of an extraordinary character was clear and convincing.

The auxiliary parts were all admirably filled, with Marion Telva as Brigitta, Alice Miriam, Grace Anthony, Armando Agnani and Roberto Leonhardt as members of Marietta's theatrical troupe and that especially attractive artist, Rafaelo Diaz, as the Stage Manager. Angelo Bada appeared as Count Albert and Leonhardt as Frank. Artur Bodanzky read the score with sympathetic authority, although at times a trifle too noisily. The stage settings were duly atmospheric, and the numerous visions dexterously handled.



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