[Met Performance] CID:101490



The King's Henchman
Metropolitan Opera House, Sat, February 16, 1929 Matinee





The King's Henchman (14)
Deems Taylor | Edna St. Vincent Millay
Aethelwold
Edward Johnson

Aelfrida
Florence Easton

Eadgar
Lawrence Tibbett

Maccus
William Gustafson

Ase
Merle Alcock

Ordgar
Louis D'Angelo

Dunstan
George Meader

Ostharu/Fisherman's Wife
Charlotte Ryan

Godgyfu/Girl
Mildred Parisette

Hildeburh
Henriette Wakefield

Leofsydu/Servant
Dorothea Flexer

Brand
Everett Marshall

Cynric
George Cehanovsky

Gunner
Max Altglass

Oslac/Blacksmith
James Wolfe

Wulfred
Millo Picco

Hwita/Old Man
Max Bloch

Thored
Arnold Gabor

Blacksmith's Wife
Minnie Egener

Saddler
Paolo Ananian

Miller's Wife/Saddler's Wife
Mary Bonetti

Fisherman
Frederick Vajda


Conductor
Tullio Serafin


Director
Wilhelm Von Wymetal

Designer
Joseph Urban





The King's Henchmen received four performances this season.

Review 1:

Review signed J. S. in the New York World

Deems Taylor's love song of Halloween, "The King's Henchman," might be said to have been revived in the Metropolitan yesterday afternoon, so long did Mr. Gatti-Casazza wait before bringing Mr. Taylor and Miss Millay to the attention of his subscribers. Having listened astutely to the somewhat ambiguous orchestration of the second act, we came to the conclusion that Mr. Serafin was able to find sermons in stones and good in everything, for the full beauty of the score, often obscured by perfunctory conducting, was revealed.

Mr. Johnson as Aethelwold, the perfidious Earl, has always seemed to find his operatic niche in the role suiting admirably the individual qualities of his voice and acting. Mr. Tibbett and Miss Easton bore their respective vocal burdens competently. The English of a few foreigners in the cast was accented rather pointedly at times. The list included Everett Marshall as a miller and Messrs. Gustafson, Meader, D'Angelo and Bloch and Mmes. Alcock, Wakefield, Ryan and Flexer.

During the intermission we entrapped Mr. Taylor in the smoke clouds of the coffee room. "And how" we asked "about your new opera?" Mr. Taylor shrugged, "You may say," said he haughtily, waving away a dowager, "I'm working on it." "And what is it about?" we persisted. "About one hour and fifty minutes," drawled Mr. Taylor, "Gimme a cigarette."



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