[Met Performance] CID:146360

Der Rosenkavalier
Metropolitan Opera House, Mon, December 15, 1947

Der Rosenkavalier (117)
Richard Strauss | Hugo von Hofmannsthal
Risë Stevens

Princess von Werdenberg (Marschallin)
Erna Schlüter [Last performance]

Baron Ochs
Emanuel List

Eleanor Steber

Frederick Lechner

Hertha Glaz

Alessio De Paolis

Italian Singer
Kurt Baum

Thelma Votipka

Peggy Smithers

Princess' Major-domo
Emery Darcy

Maxine Stellman

Irene Jordan

Thelma Altman

Inge Manski

Animal Vendor
Lodovico Oliviero

Edward Caton

Gerhard Pechner

Ludwig Burgstaller

Faninal's Major-domo
Anthony Marlowe

Leslie Chabay

Police Commissioner
Lorenzo Alvary

Max Rudolf

Review 1:

Review of "S" in the January 1, 1948 issue of Musical America

Erna Schlueter made her first appearance as the Marschallin at the season's second performance of Strauss' "Der Rosenkavalier" on Dec. 15, and Inge Manski was heard as the Milliner, replacing Frances Greer, who was indisposed. Otherwise the cast was unchanged, with Emanuel List as Ochs; Rise Stevens as Octavian; Eleanor Steber as Sophie; Frederick Lechner as Faninal; Thelma Votipka as Marianne; Alessio De Paolis as Valzacchi; Herta Glaz as Annina; and Kurt Baum as the Singer, not to mention the other artists in the myriad lesser roles.

Mme. Schlueter's Marschallin was convincing neither vocally nor dramatically. In the first act her costuming and make-up were scarcely the acme of aristocratic charm. She was only occasionally on pitch in the difficult high phrases, and even in the monologue most of the tragic overtones of the scene escaped her. Miss Stevens strove bravely to make the love scene ardent, against heavy odds.

The second act was somewhat better, although Mr. List used parlando far too much and was obviously having trouble with top tones. Sad things happened in the trio in the last act, although Mme. Schlueter sang the [beginning] soaring phrase with promising accuracy. Miss Stevens and Miss Steber did the final duet enchantingly, despite the boorish behavior several members of the audience, who trampled over their neighbors in a mad scramble to get out three minutes early, at the expense of one of the most magical pages in the opera. Max Rudolf conducted dynamically and knowingly, though the music never took fire. The wobbly trumpet at the opening of the trio was somehow symbolic of the dispiriting character of this whole performance.

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