[Met Tour] CID:150330



Tristan und Isolde
Boston Opera House, Boston, Massachusetts, Fri, April 1, 1949




Tristan und Isolde (337)
Richard Wagner | Richard Wagner
Tristan
Set Svanholm

Isolde
Helen Traubel

Kurwenal
Herbert Janssen

Brangäne
Blanche Thebom

King Marke
Dezsö Ernster

Melot
Emery Darcy

Sailor's Voice
John Garris

Shepherd
Leslie Chabay

Steersman
Philip Kinsman


Conductor
Max Rudolf







Review 1:

John Wm. Riley in the Boston Globe

“Tristan und Isolde” Only Wagner Opera Given by Metropolitan

 

The performance of “Tristan und Isolde,” only Wagner opera in the current Boston season, was in the same company of standards which the Metropolitan has shown us in its other productions. Perhaps, it did not have quite the heroic qualities which we have seen in this opera in our time.

But, on the other hand, the ensemble was in better balance. Tension mounted steadily toward the smashing climax as Wagner intended. And the orchestra played with moving intensity under leadership of Max Rudolf, making his first Boston appearance as conductor with the Metropolitan.

An extraordinary factor in this performance was the stature of Herbert Janssen as Kurvenal, and particularly of Blanche Thebom as Brangäne. Their singing and acting were less a matter of support than a matter of partnership with Set Svanholm and Helen Traubel in the title roles.

Miss Thebom is not only striking to look upon, but the dramatic qualities of her singing, and the purposeful manner of her movement on the stage make her portrayal of the character outstanding. Her singing of the first warning to the lovers in the second act was lovely. Janssen, looked every inch the rugged, staunch  Tristan and sang with imposing strength and feeling.

Svanholm was making his Boston debut as Tristan. With a figure more like an athlete than an opera singer, and a voice which soars, his presence on stage is always commanding. There is an indefinable sincerity in his performances which is always convincing.

Traubel’s Isolde is familiar, notable for warmth, serenity and an occasional Olympian passion.

Though Miss Traubel and Svanholm were inclined to shout in some dramatic moments, they never went outside the bounds of musical performance. The tenderness, heights of intensity they reached in a relatively quiet performance of the second act love duet, were touching indeed.

Deszo Ernster was making his first Boston appearance as King Mark, giving a truly regal portrayal of the unhappy monarch. Other roles, though small in comparison, were on an equal plane with the others.

Always in the production of a work so complex and vast in the big ideas and passions it expresses, there must be a firm guiding hand, a comprehending mind which never mistakes the trees for the forest.

That was Rudolf’s job and he did it well. Rarely did he fuss over details. They had been taken care of in rehearsal.

The [beginning] prelude and orchestral interludes were played with inner warmth, but calmly and as extension of the stage action. All through, the orchestral performance was clear and strong. There were no muddy, heavy sounds.

That’s an achievement. And Rudolf is to be congratulated.



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