[Met Performance] CID:84040



Tristan und Isolde
Metropolitan Opera House, Thu, April 12, 1923




Tristan und Isolde (161)
Richard Wagner | Richard Wagner
Tristan
Curt Taucher

Isolde
Barbara Kemp

Kurwenal
Clarence Whitehill

Brangäne
Sigrid Onegin

King Marke
Michael Bohnen

Melot
Carl Schlegel

Sailor's Voice
Angelo Badà

Shepherd
George Meader

Steersman
Louis D'Angelo


Conductor
Artur Bodanzky







Review 1:

Review of Mary Ellis Opdyke in the New York Sun

MISTRESS AND MAID

Barbara Kemp and Sigrid Onegin, having each one Isolde and one Brangäne to her credit this season, last night joined forces for the first time as mistress and maid. Forces there undeniably were. Kemp's Isolde is somewhat after the old school that makes Wagner sound hard to sing, that emphasizes the music drama rather than the dramatic music. She is tense, subtle, cerebrated somewhat above her audience. Thus an admirable foil for Onegin's Brangäne, a good hearted bourgeoisie, living up to the buxom music assigned her in the first act and the clinging lyric beauty of the second. In spite of the turbulence of the action there thus survived complete artistic harmony within the text of Tristan's ship. Facially, vocally, histrionically the artists gave convincing presentation of the two women, Isolde softening to the broken tenderness of the second act and rising to heroic mold again in the third.

Of the men Bohnen stood out as before in the regal dignity and mellow voice of the for once unprosaic Marke. Taucher failed to dominate Mr. Bodanzky's orchestra in the duet, or Isolde in the spirit. His delirium was well realized, but hardly contagious. Whitehill's Kurvenal takes on more and more a pleasant suggestion of bombast to salten the first act and Meader's emphatic little shepherd continues to flourish his vicarious pipe, in spite of falling shrubbery.



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