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[Met Tour] CID:156770
Tristan und Isolde
Cleveland Public Auditorium, Cleveland, Ohio, Fri, April 20, 1951
Tristan und Isolde (351)
Richard Wagner | Richard Wagner
Review 1:
Review of Oscar Smith in the Akrion Beacon-Journal
Miss Traubel’s “Isolde’ Thrills Met Audience
Svanholm Also At Best In One of Finest Operatic Performances
The performance of Wagner’s “Tristan und Isolde” Friday night by the Metropolitan Opera Association in Public Auditorium was for genuine music lovers, who were not there just to show off a new evening dress or top hat.
It was for those who forgEt the passage of time when superb music is being played and sung.
For when Helen Traubel the “Isolde from Missouri,” finished the magnificent “Liebestod” and the last exquisite tones from the orchestra had died away, it was almost midnight.
Like your true baseball fans when a game under the lights keeps them up half the night for going into extra innings, these opera-lovers stayed for the last note. And then seemed reluctant to leave.
This was one of the finest performance of “Tristan und Isolde” that the Met has eveR given in Cleveland.
Miss Traubel and the orchestra under Fritz Reiner’s brilliant conducting gave the audience a spine-tingling performance of the “Liebestod.”
The dramatic soprano who started her career in her native St. Louis reached her greatest heights when she sang the great “Love Death” over the body of Tristan.
Set Svanholm, Swedish tenor in the role of Tristan, was at his best in the long love duet with Miss Traubel in the second act, and in the final act when he realistically portrayed the delirium of the dying knight.
Blanche Thebom’s interpretation of the role of Brangäne was of a high order, vocally and dramatically.
Other principals in the fine cast were Deszo Ernster, who lent dignity and compassion to the role of King Marke; Herbert Janssen as the dutiful Kurvenal, and Hugh Thompson as Melot.
The constant flow of wonderful symphonic sound from the orchestra under Reiner’s sensitive leadership caused a friend of mine to say after the performance: “Some day I want to hear an orchestra play all of “Tristan und Isolde” without any singing.”
Search by season: 1950-51
Search by title: Tristan und Isolde,
Met careers
Tristan und Isolde
Cleveland Public Auditorium, Cleveland, Ohio, Fri, April 20, 1951
Tristan und Isolde (351)
Richard Wagner | Richard Wagner
- Tristan
- Set Svanholm
- Isolde
- Helen Traubel
- Kurwenal
- Herbert Janssen
- Brangäne
- Blanche Thebom
- King Marke
- Dezsö Ernster
- Melot
- Hugh Thompson
- Sailor's Voice
- Emery Darcy
- Shepherd
- Leslie Chabay
- Steersman
- Lawrence Davidson
- Conductor
- Fritz Reiner
Review 1:
Review of Oscar Smith in the Akrion Beacon-Journal
Miss Traubel’s “Isolde’ Thrills Met Audience
Svanholm Also At Best In One of Finest Operatic Performances
The performance of Wagner’s “Tristan und Isolde” Friday night by the Metropolitan Opera Association in Public Auditorium was for genuine music lovers, who were not there just to show off a new evening dress or top hat.
It was for those who forgEt the passage of time when superb music is being played and sung.
For when Helen Traubel the “Isolde from Missouri,” finished the magnificent “Liebestod” and the last exquisite tones from the orchestra had died away, it was almost midnight.
Like your true baseball fans when a game under the lights keeps them up half the night for going into extra innings, these opera-lovers stayed for the last note. And then seemed reluctant to leave.
This was one of the finest performance of “Tristan und Isolde” that the Met has eveR given in Cleveland.
Miss Traubel and the orchestra under Fritz Reiner’s brilliant conducting gave the audience a spine-tingling performance of the “Liebestod.”
The dramatic soprano who started her career in her native St. Louis reached her greatest heights when she sang the great “Love Death” over the body of Tristan.
Set Svanholm, Swedish tenor in the role of Tristan, was at his best in the long love duet with Miss Traubel in the second act, and in the final act when he realistically portrayed the delirium of the dying knight.
Blanche Thebom’s interpretation of the role of Brangäne was of a high order, vocally and dramatically.
Other principals in the fine cast were Deszo Ernster, who lent dignity and compassion to the role of King Marke; Herbert Janssen as the dutiful Kurvenal, and Hugh Thompson as Melot.
The constant flow of wonderful symphonic sound from the orchestra under Reiner’s sensitive leadership caused a friend of mine to say after the performance: “Some day I want to hear an orchestra play all of “Tristan und Isolde” without any singing.”
Search by season: 1950-51
Search by title: Tristan und Isolde,
Met careers