Metropolitan Opera Archives

An artistic and thoroughly satisfying performance of Wagner's "Tannhäuser" was given Friday evening at the Municipal Auditorium by the Metropolitan Opera Association. This was the second opera in the group of four being presented here under the auspices of the New Orleans Grand Opera Association.

The spectacular [first] scene of the Venusberg with the Bacchanalian dances was greeted with appreciative applause by the audience. Kerstin Thorborg as Venus gave an ingratiating performance. She realized perfectly the sensuous appeal of the music and sang her role capably. Her full, rich voice was dramatically satisfying and she made an extremely lovely Goddess of Love.

Lauritz Melchior, a favorite of New Orleans audiences, was Tannhäuser. His voice is an ideal Wagnerian tenor and it was a joy to hear him in this music. Verve, tenderness and despair were vividly present in his singing. Melchior has the ability to color tone and project these emotions to his listeners. His singing of the "Praise of Venus" was gloriously exciting. He was enthusiastically acclaimed by the audience for his portrayal of Tannhäuser.

Lotte Lehmann as Elisabeth sang "Elisabeth's Prayer" with exquisite feeling. The artistry of Madame Lehmann was apparent throughout the opera. She received spontaneous applause for her fine singing of the "Dich Teure Halle (Hall of Song)."

Wolfram in the hands of Julius Huehn became a real person. Mr. Huehn has improved tremendously since he came here several years ago. Singing and acting with ease, he imbued his part with great charm, giving the "Song to the Evening Star" with appealing lyric beauty of tone.

Norman Cordon, as the Landgrave, Elisabeth's uncle, again sang successfully. He was in "Rigoletto" Thursday evening. His voice possesses a nice quality and has depth of tone. Mr. Cordon sang acceptably in last evening's performance.

The "Bacchanale" in the first act was extremely well executed, the dancers performing with unusual skill and grace. Boris Romanoff executed the choreography for the ballet. Splendid lighting added much to the beauty of the dances, and to the Venusberg scenes in the first and third acts.

Erich Leinsdorf was the conductor for this German opera. His meticulous direction carried the presentation to an artistic conclusion. The entire cast received prolonged and thunderous applause at the end of the opera for its inspiring performance.

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