[Met Performance] CID:114330

Die Meistersinger von Nürnberg
Metropolitan Opera House, Thu, January 18, 1934 Matinee

Die Meistersinger von Nürnberg (197)
Richard Wagner | Richard Wagner
Hans Sachs
Friedrich Schorr

Elisabeth Rethberg

Walther von Stolzing
Max Lorenz

Doris Doe

Hans Clemens

Gustav Schützendorf

Ludwig Hofmann

Arnold Gabor

Marek Windheim

Louis D'Angelo

Paolo Ananian

Angelo Badà

Max Altglass

Giordano Paltrinieri

James Wolfe

Arthur Anderson

Night Watchman
George Cehanovsky

Artur Bodanzky

Wilhelm Von Wymetal Jr.

Set Designer
Hans Kautsky

Die Meistersinger von Nürnberg received six performances this season.

Review 1:

Review of H. in the January 25, 1934 issue of Musical America

'Die Meistersinger' After a Year

After the absence of a season Wagner's "Die Meistersinger" was given at a special matinee for the Southern Women's Educational Alliance on Jan. 18, with the leading roles admirably sung by Elisabeth Rethberg, Doris Doe, Max Lorenz, Friedrich Schorr, Gustav Schützendorf and Ludwig Hofmann. Artur Bodanzky conducted.

Perhaps it is just as well to let masterpieces like this lie fallow for a year. On their return they seem doubly treasurable and the fact that they have to be carefully re-rehearsed makes for sharpness of line and general acuity both in the matter of the individual and of the company as a whole. Such was the case at this performance. Before many measures of the overture had been unfolded, it was obvious that some careful rehearsing had been done. Throughout the opera one felt a security and a restraint not invariably present in Wagnerian performances at the Metropolitan. Mr. Bodanzky gave a beautiful and inspiring performance.

With the exception of Miss Doe and Mr. Hofmann, the principal artists had all been heard previously in the roles they sang. Miss Doe made a personable and a credible Magdalene and fulfilled artistically all the vocal demands of the role. Mr. Hofmann was a dignified Pogner, but had a tendency to withdraw from proceedings when not actively engaged in them. The Anrede was delivered to the audience from a point slightly west of the prompter's box, and not to the assembled "meistersingers."

Mme. Rethberg's Eva was captivating as usual, and beautifully sung, especially in the second act. It would be difficult to conceive of more perfect singing than what she gave here and in the later scene in Sachs's house. Mr. Lorenz was a convincing if a somewhat serious-minded Walther. His singing was good save for occasional constriction in the upper register. His costumes were a somewhat discordant note.

Highest honors go to Mr. Schorr for his Sachs and Mr. Schützendorf for his marvelous Beckmesser. In fine vocal form and so completely in the role as almost to seem a re-incarnation of the cobbler-poet, Mr. Schorr was a lovable Sachs. The Monologue was magnificently given. Mr. Schützendorf's Beckmesser will always be one of the few perfect operatic characterizations. There was no shade of comedy nor of voice color that could have been altered to advantage. Mr. Clemens made a somewhat mature David, but he sang well and acted according to the tradition.

The fight at the end of Act II was singularly unconvincing, and the grouping in the final scene not particularly interesting, but in spite of minor details, it was a fine and glorious afternoon.

Photograph of Friedrich Schorr as Hans Sachs by Wide World Studio.

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