[Met Performance] CID:121310

Die Meistersinger von Nürnberg
Metropolitan Opera House, Tue, March 30, 1937

Die Meistersinger von Nürnberg (214)
Richard Wagner | Richard Wagner
Hans Sachs
Friedrich Schorr

Elisabeth Rethberg

Walther von Stolzing
René Maison

Doris Doe

Karl Laufkötter

Eduard Habich

Chase Baromeo

Julius Huehn

Hans Clemens

Louis D'Angelo

Arnold Gabor

Angelo Badà

Max Altglass

Giordano Paltrinieri

James Wolfe

John Gurney

Night Watchman
George Cehanovsky

Artur Bodanzky

Review 1:

Review of Pitts Sanborn in the World-Telegram

Opera Season Is Closed with 'Die Meistersinger'

No More Performances To Be Given Until Popular Programs of Spring

Metropolitan Opera took farewell of us last evening till the [start] of the spring "popular" season with a special performance of "Die Meistersinger" given under the auspices of the German-American Charities Inc. for the benefit of the German-American relief organizations in Greater New York.

Though Artur Bodanzky led a rough and ready onslaught on the prelude, the performance as a whole suffered from a post-season lassitude. The best achievement of Mr. Bodanzky and his bandsmen was the introduction to Act III.

Mme. Rethberg Sings Eva

Elisabeth Rethberg supplied an Eva that sounded very much like a mature and spiteful shrew up to the morning of the fateful festival, when, in the sunlit workshop of Hans Sachs, she really did some singing, though her part in the quintet was uneven.

Rene Maison, a stalwart and picturesque Walther, natural in his acting, had any amount of trouble with his voice. Friedrich Schorr as Sachs made up for vocal limitations by the mellowness and authority of his interpretation. Karl Laufkötter supplied a largely commendable David.

The Pogner of Chase Baromeo was a pretty tame and pallid affair. Julius Huehn has still to prove his understanding of the character of Kothner, though he sang earnestly and industriously. Doris Doe essayed the role of Magdelene.

Habich Draws Laughs

Eduard Habich as Beckmesser drew the usual number of laughs. When will some artist have the courage to skip the farce and give us a high-comedy Beckmesser?

The second act of this marvelous opera deserves better of whoever devises the lighting.

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