Metropolitan Opera Archives

Figuring at the Metropolitan last evening for the first time this season, "Götterdämmerung" had as its chief glory the Brünnhilde of Kirsten Flagstad. This impersonation has developed steadily since Mme. Flagstad's initial essay till now it dwells with freedom on the heights.

In the scene of the oath on the spear-point Mme. Flagstad flamed with the proverbial fury of the woman scorned, and in the conspiracy with Hagen and Gunther she was the incarnation of an immutable tragic decree. In the final scene she was nothing short of sublime. Alas that the first part of it should be deleted!

The unique voice of the Norwegian singer was in splendid condition, and she sang as one inspired, even if the high C in the prologue she avoided. It is one of the prime musical privileges of New York to be able to hear her in Brünnhilde's immolation.

Lauritz Melchior for his part, did some excellent singing too, but in the scene of Siegfried's death he came a vocal cropper, recovering nobly, however. Of the possibilities of make-up he showed as little understanding as ever.

Alexander Kipnis set Hagen before us as a villain of old-fashioned melodrama, sly and venomous, his steps dogged by sneak music, but with moments of a ghastly amiability.

Even though the Gunther of Herbert Janssen was hardly a face and figure out of legend, he at least knew what his sorry role had to be and he possessed a voice that could be listened to without wincing. Irene Jessner, the Gutrune, did nothing to add interest to a colorless role.

Kerstin Thorborg, a tall and willowy Waltraute, delivered words and music of a commanding eloquence with a nonchalant semi-effectiveness. Walter Olitzki, the Alberich, hissed, gurgled and growled his lines.

That trio of gray sisters, the Norns, were turned out this time in glowing heliotrope. The first of them, Anna Kaskas, was vocally solid and secure enough. The third, Thelma Votipka, had trouble with the upper tones and sorry difference with the true pitch.

Eleanor Steber, Irra Petina and Helen Olheim made an acceptable bevy of Rhine Daughters.

Erich Leinsdorf achieved his best results as conductor in the latter part of Act II. The music that follows Siegfried's death is something more than a circus piece for brass band and percussion.

The steam-screen let loose at the very end added one more to the idiosyncrasies of Metropolitan staging.

A very large audience received the evening's offering with immense enthusiasm, giving Mme. Flagstad, in particular, a tremendous ovation after the second act.

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