[Met Performance] CID:85620



Der Rosenkavalier
Metropolitan Opera House, Sat, December 22, 1923

Debut : Raimondo Ditello




Der Rosenkavalier (35)
Richard Strauss | Hugo von Hofmannsthal
Octavian
Delia Reinhardt

Princess von Werdenberg (Marschallin)
Florence Easton

Baron Ochs
Paul Bender

Sophie
Queena Mario

Faninal
Gustav Schützendorf

Annina
Kathleen Howard

Valzacchi
Angelo Badà

Italian Singer
Orville Harrold

Marianne
Marcella Röseler

Mahomet
Virginia Gitchell

Princess' Major-domo
Pietro Audisio

Orphan
Nannette Guilford

Orphan
Louise Hunter

Orphan
Henriette Wakefield

Milliner
Phradie Wells

Animal Vendor
Raffaele Lipparini

Notary
William Gustafson

Leopold
Giordano Paltrinieri

Faninal's Major-domo
Raimondo Ditello [Debut]

Innkeeper
George Meader

Police Commissioner
Carl Schlegel


Conductor
Artur Bodanzky







Review 1:

Review signed J. A. H. in Musical America

A Popular 'Rosenkavalier'

Strauss' delightful "Rosenkavalier" was given at the popular-priced Saturday night performance on Dec. 22, with two singers new to principal rôles. These were Delia Reinhardt, who appeared for the first time here as Octavian, and Queena Mario, who assumed the role of Sophie for the first time on any stage. Mmes. Easton, Roeseler and Howard, and Messrs. Harrold, Bender and Schützendorf and Bada appeared in their accustomed roles, and the remaining parts were sung by Mmes. Alcock, Hunter, Guilford, Wells and Gitchell, and Messrs. Meader, Schlegel, Gustafson, Paltrinieri and Audisio. Mr. Bodanzky conducted.

Mme. Reinhardt's Octavian is a very delightful piece of work. Comparison with other singers who have sung the part here are inevitable, but be it said that Mme. Reinhardt's interpretation can stand such comparison. She was best in the first act, when her boyish and naïvely intense love-making was very charming. The transition from boy to man in the second act was also very convincing. Vocally Mme. Reinhardt did the best work she has done here.

Queena Mario's Sophie was a bit of perfection. There may have been some apprehension beforehand as to whether the caliber of her voice was sufficient for the part, but the duet of the presentation of the rose put any possible doubt to flight. Never before in the Metropolitan has this hideously difficult music been sung with such ease and such soaring tone. In the marvelous trio toward the end of the last act, where the interweaving of the voices and the high tessitura again present frightful difficulties, Miss Mario's clear tones dominated the scene. In the final duet, almost invariably sung off-key, the high B-naturals were absolutely true to pitch and lovely in quality. Miss Mario's acting was charming throughout and she scored every point. In fact, her performance was a complete triumph.



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