[Met Performance] CID:140230



Fidelio
Metropolitan Opera House, Mon, December 17, 1945


In English



Fidelio (70)
Ludwig van Beethoven | Joseph Sonnleithner
Leonore
Regina Resnik

Florestan
Frederick Jagel

Don Pizarro
Kenneth Schon

Rocco
Lorenzo Alvary

Marzelline
Frances Greer

Jaquino
John Garris

Don Fernando
Osie Hawkins

First Prisoner
Richard Manning

Second Prisoner
Louis D'Angelo


Conductor
Bruno Walter







Review 1:

Review of Robert Bagar in the World-Telegram

"Fidelio" Given Fine Performance at Met

Beethoven's majesty and the grand "expression noble et sentimentale" had their fullest quota of life and reality yet given them in any Metropolitan performance of "Fidelio" of late seasons. The reasons were traceable to Bruno Walter, who conducted.

Mr. Walter has whipped this Metropolitan orchestra - and, as regards intentions, most of the cast - to a full-time body of votaries. It was a delight to hear the Met musicians making like the Philharmonic Symphony. With due regard for all those on the stage, the show took place in the pit, if you ask me.

Wagner and Beethoven

Despite all other allegiances or influences, Richard Wagner's symphonic line stems mostly from Beethoven's. That seemed too obvious to stand doubting last evening.

Those nights of copying Beethoven's scores, "just for the sake of study and exercise" profited Wagner more, probably, than any other candle burning as he may have done, and that included the both-ends kind. For if there are two composers with a greater concern for the development of the musical idea, and, therefore, more cognate than Beethoven and Wagner, they are yet to be born. It takes such a conductor as Mr. Walter and such a performance of the music as he gave to bring home the self-evident truth of that.

Jagel Fulfills Role

A major enjoyment of the evening's vocal side came through the work of Frederick Jagel , who sang his first Metropolitan Florestan. There was style in his singing such as the part has been lacking all along. Mr. Jagel's impersonation was singularly his own, and yet it corresponded quite handsomely with classical notions about it.

Some of the spoken lines, true, proved disturbing in their old-time inflections. Too much heavy and corny dramatizing, you see, none of which was Mr. Jagel's specific doing. He merely followed orders.

The remainder of the cast was not especially brilliant. No stars on the stage, although everyone concerned fitted into a general scheme provided by Mr. Walter. Regina Resnik had some trying moments with top tones, and that's about all.



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