Metropolitan Opera Archives

Although this series of performances was not officially designated a Ring Cycle,
it was clearly understood to be one by management, the public, and the world's two
leading Wagnerian sopranos. each of whom dominated her own cycle.

Review 1:

Jerome D. Bohm in the Herald Tribune

Return of “The Ring”

The afternoon “Ring” series at the Metropolitan Opera began rather inauspiciously Thursday afternoon with a cast in which all but four of the singers, Messrs. Pechner and Hines and Mmes. Novotna and Glaz, were new here in their roles. The principal source of satisfaction was provided by the orchestra under Mr. Stiedry’s perceptive direction. It was largely because of the conductor’s ministrations that much of Wagner’s music-drama issued with a cogency that the singers for the most part failed to supply.

Three most important figures in “Rheingold,” those to whom Wagner has given the largest amount of music to sing, are Wotan, Loge and Alberich. The women, aside from Erda and the Rhine Maidens get little opportunity for sustained song. Mr. Hotter’s Wotan, imposing in stature and authoritative in action, was vocally disappointing. Occasional phrases emerged expressively, but much of his vocalism, especially in the upper register of his baritone voice, was marred by nasal production. As Loge, Mr. Svanhom treated the fire-god as a balletic figure and his poses and movements not infrequently verged on unintentional caricature with his singing, intelligent as it was in the handling of text, remaining aurally unflattering. The Alberich of Mr. Pechner was for the most part ineffectual because his bass voice has not the power to lend the necessary dramatic impact to such demanding things as the Renunciation of Love in the [first] scene and his Curse of the Ring in the final scene.

Miss Harshaw was the most felicitously cast of the women in the cast and she sang smoothly and steadily. Freia is, aside from Gutrune, the least gratifying role in the “Ring” and Miss Novotna’s delivery of the few lines of music which comprise it, was on the acidulous side. The trio of Rhine Maidens was feeble and sang the entire closing episode off pitch. Miss Madeira, who replaced the indisposed Karin Branzell, originally scheduled to make her return to company as Erda, would have been eminently suited to the role, had she not forced her sumptuous contralto voice to the point of unsteadiness throughout the greater part of Erda’s Prophecy.

Among the few vocally persuasive moments were those provided by Mr. Sullivan as Froh. Mr. Klein’s Mime was tellingly acted and well sung. Mr. Hines does better with French and Italian roles than he does with Fasolt and Mr. Ernster sang more steadily than is his custom as Fafner. Steadiness of tone was not, however, one of the qualities of Mr. Hawkin’s Donner.

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