[Met Performance] CID:101250



Tristan und Isolde
Metropolitan Opera House, Wed, January 30, 1929




Tristan und Isolde (181)
Richard Wagner | Richard Wagner
Tristan
Rudolf Laubenthal

Isolde
Gertrude Kappel

Kurwenal
Friedrich Schorr

Brangäne
Karin Branzell

King Marke
Michael Bohnen

Melot
Arnold Gabor

Sailor's Voice
Max Bloch

Shepherd
George Meader

Steersman
Louis D'Angelo


Conductor
Artur Bodanzky


Director
Samuel Thewman

Set Designer
Joseph Urban

Costume Designer
Mathilde Castel-Bert





Tristan und Isolde received six performances this season.

Review 1:

Review of W. J. Henderson in the New York Sun:

As a very old opera observer remarked last night, "There is still hope when 'Tristan und Isolde' can be given to a sold-out house." As Capt. Cuttle used to tell us the meaning of this remark is to be found in its application. It is a fact that when Wagner's supreme canticle of love was sung at the Metropolitan last evening for the first time this season all the seats were occupied and a goodly company of perfect Wagnerites stood in rapt attention apparently unconscious of their feet.

The significance of this should not have been lost to those who mournfully point season after season to the waning of the star of Wagner. It may be that some of this master's creations have no longer a spell potent to lure the multitude. But as long as "Tristan and Isolde" can be presented with as much sincerity and as considerable a degree of dramatic power as it was last evening the old Keltic version of the eternal triangle story, glorified by the greatest music of human passion ever conceived, will spread its raptures not in vain.

Last evening's performance was one of those rare ones in which the right key is caught with the [first] measures. When this happens there is seldom a modulation of unfortunate style. The prelude was played with unusual meaning and when the curtain had risen it was quickly made known that Mme. Kappel was still to be heard at her best as Isolde. The many shades of feeling and thought in the lines of the Irish princess seem to appeal strongly to her and she finds for them the accents which carry their message. There were moments last night when her voice declined to respond to the exacting demands of the music, but on the whole her Isolde was one of fine dramatic proportions and commanded the interest of the audience.

Branzell is always a competent Brangaene and she sang with a wealth of rich tone and with appreciation of the content of her music. One would like to see in Mr. Laubenthal a satisfactory representation of Tristan, but aside from his manly appearance and the naturally good quality of his voice, he has not much to offer.



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